Podcasts about new york scene

Reed Diamond and Chuck Shute delve into the timeless appeal of Pixar movies, emphasizing the importance of a strong script. Reed shares his experiences working on "Drop," a thriller filmed in Ireland, highlighting the practical sets and collaborative environment. They also touch on the impact of tax incentives on film production, the evolution of live music experiences, and the importance of storytelling in acting, with anecdotes about working with notable actors and directors. Reed Diamond discusses his acting philosophy, emphasizing the importance of being in the moment and collaborating with fellow actors. He contrasts this with the competitive, cutthroat environment of "Homicide," where actors actively tried to undermine each other. Diamond admires strategic actors like Val Kilmer but prefers a more spontaneous, improvisational approach. He also reflects on the impact of social media and politics on society, advocating for authenticity, empathy, and local action. Diamond promotes his upcoming film "Drop," highlighting its intense, well-crafted narrative and the collaborative effort behind it.0:00:00 - Intro0:00:20 - Rankin/Bass, Claymation & Kids Movies 0:04:45 - Movies from 70s/80s, Anora & Test of Time 0:11:25 - New "Drop" Film, Script, Production, Casting & Location 0:22:10 - Cheaper to Film Outside of Los Angeles 0:25:22 - Statue of Liberty & New York Scene 0:30:45 - Music Scenes, Concerts & Punk Rock 0:38:28 - Working with Other Actors & Being Authentic 0:44:40 - Working on Homicide & Crazy Stories 0:51:03 - Smart Tricks, Being Difficult & Bad Behavior 0:55:40 - Val Kilmer & Cunning Strategy of Actors/Actresses 1:04:03 - Improvising Vs. Having a Plan & Visionary Directors 1:07:53 - Gene Hackman's Method 1:09:20 - The Substance & Hands On Directing Vs Natural 1:12:35 - Tarantino & Natural Dialogue vs. Micromanaging 1:15:05 - Shooting Better Call Saul Scene 1:19:12 - Actors Directing Actors 1:23:01 - Wisdom, Life Decisions & Emotion 1:25:50 - Leaping to Outrage, Authenticity & Social Media 1:30:17 - Politics, Arguing, Division & Common Values 1:35:00 - Fear & Outrage, Nation's Ideals & Making a Difference 1:38:15 - Corruption, Leading By Example & Not Preaching 1:40:45 - Goal is the Truth & Striving to Be Better 1:43:52 - Music, Film & Art Reflects Life 1:47:21 - Outro Reed Diamond instagram:https://www.instagram.com/thereeddiamond/?hl=enReed Diamond X:https://x.com/reeddiamond?lang=enChuck Shute link tree:https://linktr.ee/chuck_shuteSupport the showThanks for Listening & Shute for the Moon!

Our guest this week is a DEEJAY and Socialite from the New York Scene. She specialist in planning, managing, and creating events within the fashion industry. From product launches and pop-ups to in-store events and strategic partnerships, she brings over a decade of experience. Her expertise spans every detail of a successful Fashion Week show or party. Which includes venue selection, set design, catering, lighting, gifting, photo/film crews, security, talent booking, and entertainment.Five years ago, she co-founded Dune Suncare, an 8X award-winning suncare brand. Their revolutionary invisible gel is clinically proven to perfect and protect all skin tones while delivering skincare benefits. With the motto-“Be Smart, Look Good, Cover Your Assets”, Dune Suncare has quickly made its mark in the industry. Please welcome Mei Kwok from Dune Suncare!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Garza sits down in-person with Long Island, NY hardcore band PAIN OF TRUTH. Catch them on tour now! https://linyhc.com SPONSORS: Sweetwater - https://imp.i114863.net/rnrmVB PAIN OF TRUTH is: Michael Smith - Vocals Nik Hansen - Guitar Ridge Rhine - Guitar Nick Barker - Drums Zach Stachura - Bass CHAPTERS: 00:00 - Meeting at Guitar Center 04:31 - Yoga & Meditation 06:31 - Nik's Motorcycle Injuries 10:15 - New York Hardcore, Childhood Concerts 14:15 - How Pain of Truth Formed 25:46 - Why Michael & Nick Stopped Drinking 35:48 - Energy Drinks, Nicotine & Bad Habits 43:30 - Playing Shows Associated with Drinking & Drugs 45:48 - Writing “Actin' Up” 55:09 - Collaborating with Freddy Madball 57:33 - Biohazard 1:03:56 - Touring with Dying Wish 1:06:07 - Nik's 1st Deathcore Band & 1st Shows 1:09:12 - Dealing With Outside Influence, Staying Grounded & Loyal 1:13:12 - Upcoming Tours & Music 1:14:10 - Today's Hardcore Scene & Audience Crossover 1:19:24 - A Day to Remember

Welcome to the Nothing Shocking Podcast 2.0 episode 270 with our guest Ivan Julian (Richard Hell and the Voidoids, The Clash, Matthew Sweet, Jeremy Toback).  We discuss his newest single, Her Lips, and his solo albums Swing Your Lanterns, and The Naked Flame, and more!   For more information visit:  https://ivanjulian.com/ https://ivanjulian.bandcamp.com/album/swing-your-lanterns   Please like our Facebook page: https://www.facebook.com/nothingshockingpodcast/  Follow us on twitter at  https://twitter.com/hashtag/noshockpod.   Libsyn website: https://nothingshocking.libsyn.com For more info on the Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org    Nothing Shocking Podcast Best of 2024 Apple Playlist: https://music.apple.com/us/playlist/nothing-shocking-podcast-2024/pl.u-NP2Ws7135YR

Mike Shabb est de retour pour discuter avec nous de son actualité. Que ce soit son nouveau projet court "Scarecrow", son projet complet "Sewaside 3" en début d'année, ou encore la scène rap locale, Shabbo s'exprime à sa manière avec l'équipe du Pod'Casque. Mike Shabb est un rappeur et producteur montréalais reconnu pour son style unique qui mêle habilement des influences du rap classique avec une touche contemporaine. Actif sur la scène depuis plusieurs années, Shabb s'est imposé comme une figure montante du rap québécois grâce à sa polyvalence et à son approche authentique. Il est particulièrement apprécié pour ses productions percutantes, ses paroles introspectives, et son habileté à capturer l'essence de la vie urbaine à travers sa musique.

IT'S JASON ON A BOAT!! Friday the 13th Part VIII: Jason Takes Manhattan Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects Another Horror Thursday is upon us, which means ANOTHER installment in our Scream Queens' Friday the 13th Marathon - this week Roxy Striar & Tara Erickson give their FIRST TIME Reaction, Commentary, Analysis, Breakdown, & Full Movie Spoiler Review for the 8th Jason Voorhees film which sees everyone's favorite Mama's Boy leaving Camp Crystal Lake for The Big Apple!  Jason Takes Manhattan features the return of Fan Favorite Kane Hodder as Jason along with a fresh cast of Teens (and adults) including Tiffany Paulsen, Jensen Daggett, Barbara Bingham, Peter Mark Richman, Vincent Craig Dupree as Julius, Kelly Hu, & MORE! Roxy & Tara REACT to all the Best Kills & Scariest Moments including the Jason vs. New York Scene, the Knockout! Scene, Subway Chase Scene, Killer Dance Moves Scene, Drowend in Toxic Waste Scene, Two For One Slaying Scene, Jason Says No to Drugs Scene, Jason vs. Toxic Waste Scene, Murder Caught on Tape Scene, Death by Guitar, & Beyond!! After watching ALL of the Freddy Krueger / A Nightmare on Elm Street & Child's Play / Chucky films, how will this Classic Slasher Franchise compare?? Follow Roxy Striar YouTube:https://www.youtube.com/@TheWhirlGirls Instagram: https://www.instagram.com/roxystriar/?hl=en Twitter:  https://twitter.com/roxystriar Follow Tara Erickson: Youtube: https://www.youtube.com/@TaraErickson Instagram:  https://www.instagram.com/taraerickson/ Twitter:  https://twitter.com/thetaraerickson Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Full episode & video, available on our Patreon. In the early 2000s, New York's economic landscape created a world in which one could survive off of little. Artists, skaters, graffiti writers, poets & musicians inhabited the city, organically creating style & culture in a way that permeated into the life of the neighborhood. Common streets became legendary as the 14 block radius of downtown New York housed a thriving underground scene flourishing in a carefree time of unhindered creativity. At this time Alain Levitt was hanging out in the Lower East Side on a daily basis with a small film camera on his person. Spending the early 2000s living amongst the people, Alain shot the downtown New York Scene during an era that laid the foundations for events & people that went on to deeply influence the world of skate, graffiti, art & culture. His debut book 'NYC: 2000-2005' is a collection of these photos.http://patreon.com/livingproofnewyorkhttp://livingproofnewyork.com

A LOVE LETTER TO THE LION KING! Madagascar 2 (Escape 2 Africa) Movie Reaction The Sequel to Madagascar from Dreamworks Animation Reaction, Recap, Commentary, & Review today as John & Tara Erickson continue their journey toward childhood they never had. Featuring new voices of Bernie Mac (Ocean's Eleven, Bad Santa), Alec Baldwin (The Royal Tenenbaums, Beetlejuice, The Departed), & Sherri Shepherd (30 Rock, Precious), & Will.i.am (The Black Eyed Peas, X-Men Origins: Wolverine) along with Ben Stiller (Zoolander, Tropic Thunder, Dodgeball, Meet the Parents), Chris Rock (Grown Ups, Spiral, Everybody Hates Chris), Jada Pinkett Smith (The Matrix Reloaded, Girls Trip, Gotham), David Schwimmer (Friends, Band of Brothers), Sacha Baron Coen (Borat, Talladega Nights, Brüno), Cedric the Entertainer (Barbershop, A Haunted House), & Andy Richter (Late Night with Conan O'Brien, Elf, Scary Movie 2)!! We react to all the Best Scenes & Funniest Moments including The Lion Dance Scene, the Moto Moto Likes You Scene, Baby Alex Goes to New York Scene, Penguin Plane Crash Scene, Monkey-Powered Airplane Scene, The Nana Cometh Scene, Grand Theft Penguin Scene, Before We Come to Our Senses Scene, Animal Sacrifice Scene, King Julian's Match Maker Scene, the I Like to Move It Move It Remix, & MORE!! #Mdagascar #Madagascar2 #MadagascarEscape2Africa #Dreamworks #DreamworksAnimation #ChrisRock #BenStiller #JadaPinkettSmith #DavidSchwimmer #PenguinsOfMadagascar #ILikeToMoveItMoveIt #FirstTimeWatching #MovieReaction #MovieCommentary #MovieReview #Animation #AnimatedMovie Support The Channel By Getting Some REEL REJECTS Aparrel! https://www.rejectnationshop.com/ We wholeheartedly stand with the actors and writers currently on strike. They are the heartbeat of the stories that we cherish; the narratives that spark our imagination, open our minds, and invite us into unexplored realms. Their creativity shapes our understanding of the world and ourselves. Without them, our channel would be void of content. They challenge us, make us think, and broaden our perspectives through their compelling storytelling. We owe the existence of our channel to their craft and we believe in the power of unity and stand firm with the creative community during this critical period. SUPPORT THE STRIKERS: Support the Entertainment Community Fund for struggling strikers HERE: https://entertainmentcommunity.org/ THE STRIKING ORGANIZATIONS: SAG-AFTRA Strike Homepage: https://www.sagaftrastrike.org/ WGA-West: https://www.wga.org/ WGA-East: https://www.wgaeast.org/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Learn more about your ad choices. Visit megaphone.fm/adchoices

“Home of the Brave” performed by Laurie Anderson & Dickie Landry on The Late Show. Laurie Anderson is an American avant-garde artist, composer, musician, and film director whose work spans performance art, pop music, and multimedia projects.For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11. Listen to his music on Unseen Worlds.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Home of the Brave” performed by Laurie Anderson & Dickie Landry on The Late Show. Laurie Anderson is an American avant-garde artist, composer, musician, and film director whose work spans performance art, pop music, and multimedia projects.For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11. Listen to his music on Unseen Worlds.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Home of the Brave” performed by Laurie Anderson & Dickie Landry on The Late Show. Laurie Anderson is an American avant-garde artist, composer, musician, and film director whose work spans performance art, pop music, and multimedia projects.For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11. Listen to his music on Unseen Worlds.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Home of the Brave” performed by Laurie Anderson & Dickie Landry on The Late Show. Laurie Anderson is an American avant-garde artist, composer, musician, and film director whose work spans performance art, pop music, and multimedia projects.For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11. Listen to his music on Unseen Worlds.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

“Home of the Brave” performed by Laurie Anderson & Dickie Landry on The Late Show. Laurie Anderson is an American avant-garde artist, composer, musician, and film director whose work spans performance art, pop music, and multimedia projects.For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11. Listen to his music on Unseen Worlds.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Philip Glass, Keith Sonnier, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Philip Glass, Keith Sonnier, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Philip Glass, Keith Sonnier, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Philip Glass, Keith Sonnier, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landrywww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Listen to this weeks episode as Laurina interviews Comedy Booker and Producer, Ali Fischbein! During the episode they discuss how Ali started producing, what her first experience was like in New York, and how Ali came up with the name Lil Fish comedy!

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' Goldwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' GoldPhoto: Dickie Landry in Robert Wilson's “1433—The Grand Voyage”, Music by Ornette Coleman, Dickie Landry, Chih-Chun Huangwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."The first painting I saw of what I had done, the finished painting was a real turn on. I mean, really heavy, like that painting was coming from my brain. It wasn't a photograph. It wasn't an image of something. It was coming from me, from this. That really, I mean, excited me more than when I first heard John Coltrane or Ornette Coleman. And it was like, Pow, this is what painting is about. It's about individual piece of work. It's not a photograph.""The way I became interested in art was in high school. I was graduating. What are you going to do? What are you going to do with your life? So one day I went to the library and was thumbing through Time magazine and turned the page, and there's a work of art by Robert Rauschenberg. And when I saw what he'd done and was getting international attention for, his pieces hanging in museums somewhere in the world, the light bulb went off in my head. I can be whatever I want. I don't have to be categorized. I'm free. Free...I get bored doing just one thing. People say, 'Well, you can only have one stamp of what you do.' I didn't believe in that. I was just, you know, I liked everything I did."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' Goldwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"The first painting I saw of what I had done, the finished painting was a real turn on. I mean, really heavy, like that painting was coming from my brain. It wasn't a photograph. It wasn't an image of something. It was coming from me, from this. That really, I mean, excited me more than when I first heard John Coltrane or Ornette Coleman. And it was like, Pow, this is what painting is about. It's about individual piece of work. It's not a photograph.""The way I became interested in art was in high school. I was graduating. What are you going to do? What are you going to do with your life? So one day I went to the library and was thumbing through Time magazine and turned the page, and there's a work of art by Robert Rauschenberg. And when I saw what he'd done and was getting international attention for, his pieces hanging in museums somewhere in the world, the light bulb went off in my head. I can be whatever I want. I don't have to be categorized. I'm free. Free...I get bored doing just one thing. People say, 'Well, you can only have one stamp of what you do.' I didn't believe in that. I was just, you know, I liked everything I did."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie AndersonImage: "Solo Concerts" by Dickie Landry and Philip Glass held on April 13th and 14th, 1973 at 112 Workshop. Photos by Gerard Murrell, Robert Mapplethorpewww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson. Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11."Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' Goldwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

"Einstein on the Beach, it's a masterpiece. America, in 1976, was to be celebrating its 200th year of existence, and Michel Guy, the French Minister of Culture, came to New York to offer a commission to Philip Glass and Robert Wilson to write an opera. This was the gift that France would give for America's two-hundredth anniversary. That was the first time I met Robert Wilson.""My son had died, and I had taken to two years to recover. So I went to New York. I had dinner with Laurie Anderson, and as I was getting up to leave, she said, 'What are you doing in New York?' I said, "I'm looking for work' She said, 'What are you doing next week?' I said, 'Well, I'm supposed to be in Atlanta, Georgia doing a music film with David Byrne and Talking Heads. Well, what do you have?' She said, 'I'm doing a piece next week at Brooklyn Academy of Music with Trisha Brown and Robert Rauschenberg, Set and Reset. Why don't you come? Bring your sax, we'll work it out then.' Two weeks after that concert, Laurie's manager called and said, 'Do you want to go on a 20-city tour of America with Laurie? Home of the Brave?' Of course, we did that. That was the beginning of the reconstruction of my career in New York through Laurie Anderson."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.“Well, look at tennis players where they hit the ball on one side of the court and next thing you know it's on the other side of the court. It's all practice, practice, practice. That's what I tell people who say, "I want to learn how to play the saxophone or the flute or clarinet, or any instrument. I say, "Start practicing.”"The way I became interested in art was in high school. I was graduating. What are you going to do? What are you going to do with your life? So one day I went to the library and was thumbing through Time magazine and turned the page, and there's a work of art by Robert Rauschenberg. And when I saw what he'd done and was getting international attention for, his pieces hanging in museums somewhere in the world, the light bulb went off in my head. I can be whatever I want. I don't have to be categorized. I'm free. Free."http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009“Gloria” for Robert Wilson's “Oedipus Rex”Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute "Are Years What" Phillip Glass. Composed for D.L. playing 3 soprano saxophones. On his lp "North Star”,1977 Swing Kings 1965, D.L. on flute“Home of the Brave” on the Late Show with Laurie Anderson"Taideco" Zydeco, for Wilson's production of "1433" Cedric Watson, Jermain Prejean, D.L. “Ghosties” from “Dickie Landry Solo”"It Keeps Rainin'", Robert Plant with Lil' Band O' Goldwww.creativeprocess.info www.oneplanetpodcast.orgInstagram @creativeprocesspodcast

“Well, look at tennis players where they hit the ball on one side of the court and next thing you know it's on the other side of the court. It's all practice, practice, practice. That's what I tell people who say, "I want to learn how to play the saxophone or the flute or clarinet, or any instrument. I say, "Start practicing.”"The way I became interested in art was in high school. I was graduating. What are you going to do? What are you going to do with your life? So one day I went to the library and was thumbing through Time magazine and turned the page, and there's a work of art by Robert Rauschenberg. And when I saw what he'd done and was getting international attention for, his pieces hanging in museums somewhere in the world, the light bulb went off in my head. I can be whatever I want. I don't have to be categorized. I'm free. Free."For nearly half a century, Richard “Dickie” Landry was at the center of the New York avant-garde. Born in the small Louisiana town of Cecilia in 1938, he began making pilgrimages to the city while still in his teens in search of the city's most cutting edge gestures in jazz, and relaxed there not long after, falling in with a close knit community of artists and composers like Keith Sonnier, Philip Glass, Joan Jonas, Gordon Matt Clarke, Richard Serra, Robert Rauschenberg, Nancy Graves, Lawrence Weiner, Steve Reich, Jon Gibson, and Robert Wilson.Landry remains one of the few artists of his generation who made important waves within numerous creative idioms. Having been trained from a young age on saxophone, not only is he a remarkably respected solo performer and bandleader, but he was an early and long-standing member of Philip Glass' ensemble, playing on seminal records like Music With Changing Parts, Music in Similar Motion / Music in Fifths, Music in Twelve Parts, North Star, and Einstein on the Beach, and played with Talking Heads, Laurie Anderson, and jazz giants like Johnny Hammond, Gene Ammons, and Les McCann. He was also one of the most important photographic documenters of the New York Scene, until he left the city for his native Louisiana, following 9/11.http://www.dickielandry.comhttps://unseenworlds.com/collections/dickie-landryMusic on this episode courtesy of Dickie Landry:E-mu & Alto Saxophone composed by D.L. for Robert Wilson's production of "1433 The Grand Voyage" based on the story of Zheng He. Premier National Theater Taipei, Taiwan 2009Philip Glass'"Einstein on the Beach”. Original recording on Tomato Records 1977. D.L. on flute “Home of the Brave” on the Late Show with Laurie Andersonwww.creativeprocess.info www.oneplanetpodcast.org Instagram @creativeprocesspodcast

Born in Chicago, Chris was playing drums at age three and began performing his first professional gigs at eleven. At nineteen, Parker began recording and touring with blues great Paul Butterfield and then broke into the New York studio scene in 1970,doing records, movie scores and filling the drum chair at Saturday Night Live. Toph, as friends know him, recorded platinum, gold and Grammy winning albums and CDs with many artists, including, Bob Dylan, Cher, Natalie Cole, Donald Fagen, Ashford and Simpson, Aretha Franklin, Freddie Hubbard, James Brown, Stuff, Miles Davis, Patti LaBelle, Michael Bolton, Lionel Hampton, Billie Holiday, Tony Bennett, and Quincy Jones who has written liner notes for the latest cd, ”Blue Print.” Currently leading his own band, the Chris Parker Trio with Kyoko Oyobe, piano and Ameen Saleem, bass, Parker has just recorded “Blue Print,” a new cd dedicated to Arif Mardin and produced by Arif's son, Joe. This new work features Randy Brecker on three tracks as well as Parker's original compositions. In this episode, Chris talks about New York scene in the 70s, when he was getting serious about music His 50 year association with bassist Will Lee His work with Stuff, and playing double drums in the band with Steve Gadd Seeing numerous drum legends over and over at New York clubs, and receiving mentorship from them in different ways How an impromptu rehearsal/jam with Bob Dylan unknowingly served as an audition Adapting to the many different ways Dylan wanted to interpret songs in the moment How his passion for drawing and painting has informed his musical approach

Jeff Slate is an ASCAP award winning singer-songwriter from New York City. He co-founded the 1980's mod/punk band the Mindless Thinkers, and in the mid-90's released The Townshend Tapes, on which The Who's Pete Townshend acted as executive producer. He later opened for Sheryl Crow on her “Tuesday Night Music Club” tour before founding the band The Badge in 1997, who released three albums and countless singles, EPs and live “bootleg” sets, two “best of” compilations, and went on to become darlings of the UK/European “mod” scene in the 2000's. In 2010 Slate released the solo single “Dreamtime,” which featured Earl Slick (Lennon, Bowie) and Carlos Alomar (Bowie, Lennon), as well as other alums of David Bowie's bands. Birds of Paradox, his first solo album of original material, was released in 2012. It was followed in November 2013 by Imposters & Attractions, and his contribution to the Pete Quaife Foundation Kinks tribute album Shoulder To Shoulder in 2015, which honored the band's late bassist. His 2016 album Secret Poetry was another all-star affair, lauded by critics and fans alike. A video of the song “Letter From Paris (Showed Me The Way)” featuring Slate and Slick, was directed by Patrick McGuinn.Jeff's music has appeared in advertising and films and on television, including in the hit show Gossip Girl. Over the past decade Slate has been a regular contributor to the Wall Street Journal, The New Yorker, Esquire, Rolling Stone, and many other publications, writing about music and culture, and has appeared on television and radio numerous times, including on former-Sex Pistol Steve Jones's Los Angeles drive time show Jonesy's Jukebox, and SiriusXMs Volume channel, where Slate is also a guest host, as well as the BBC numerous times. He is the co-author of the 2017 book The Authorized Roy Orbison, written with the late legend's sons, and has written liner notes for albums by Orbison, the Small Faces, Shawn Colvin, for the Stax Records 60th anniversary reissue series and for The Beatles' 50th anniversary edition of Sgt. Pepper's Lonely Hearts Club Band. In 2018 Slate wrote the 10,000+ word essay included in Bob Dylan's More Blood, More Tracks, the 14 edition of his long-running Bootleg Series. In 2019 Slate appeared onstage at the first World Of Bob Dylan conference in Tulsa, Oklahoma, sponsored by the Bob Dylan Center there, where he interviewed The Byrds' Roger McGuinn and performed with the legend. He also performed at all-star concerts celebrating The Clash's album London Calling in New York and L.A. In 2020, and Slate appeared at a show in Los Angeles fronting the band from the “Echo In The Canyon” film, as well as at an all-star concert at New York City's Town Hall honoring the 80th birthday of the Woody Guthrie song “This Land Is Your Land.”During the 2020 lockdown, Slate performed over forty Facebook Live and Instagram Live streaming concerts to thousands of fans each week, including one for the Martin Guitars series “Jam In Place,” and released the live album Lockdown Live taken from those performances. He also released the single and animated video “Heartbreak,” which featured Slick, Duff McKagan and other rock and roll luminaries, and contributed a cover of the Traveling Wilburys' song “Handle With Care” with his band to the official celebration of Tom Petty's 70th birthday.Slate proudly plays a Martin OM-28E Retro Acoustic Guitar with Martin Strings, as well as Hofner basses and Vox amps.Photo credit: Rachel NaomiLearn More about Lyte Hosted on Acast. See acast.com/privacy for more information.

Jeff Slate is an ASCAP award winning singer-songwriter from New York City. He co-founded the 1980's mod/punk band the Mindless Thinkers, and in the mid-90's released The Townshend Tapes, on which The Who's Pete Townshend acted as executive producer. He later opened for Sheryl Crow on her “Tuesday Night Music Club” tour before founding the band The Badge in 1997, who released three albums and countless singles, EPs and live “bootleg” sets, two “best of” compilations, and went on to become darlings of the UK/European “mod” scene in the 2000's. In 2010 Slate released the solo single “Dreamtime,” which featured Earl Slick (Lennon, Bowie) and Carlos Alomar (Bowie, Lennon), as well as other alums of David Bowie's bands. Birds of Paradox, his first solo album of original material, was released in 2012. It was followed in November 2013 by Imposters & Attractions, and his contribution to the Pete Quaife Foundation Kinks tribute album Shoulder To Shoulder in 2015, which honored the band's late bassist. His 2016 album Secret Poetry was another all-star affair, lauded by critics and fans alike. A video of the song “Letter From Paris (Showed Me The Way)” featuring Slate and Slick, was directed by Patrick McGuinn.Jeff's music has appeared in advertising and films and on television, including in the hit show Gossip Girl. Over the past decade Slate has been a regular contributor to the Wall Street Journal, The New Yorker, Esquire, Rolling Stone, and many other publications, writing about music and culture, and has appeared on television and radio numerous times, including on former-Sex Pistol Steve Jones's Los Angeles drive time show Jonesy's Jukebox, and SiriusXMs Volume channel, where Slate is also a guest host, as well as the BBC numerous times. He is the co-author of the 2017 book The Authorized Roy Orbison, written with the late legend's sons, and has written liner notes for albums by Orbison, the Small Faces, Shawn Colvin, for the Stax Records 60th anniversary reissue series and for The Beatles' 50th anniversary edition of Sgt. Pepper's Lonely Hearts Club Band. In 2018 Slate wrote the 10,000+ word essay included in Bob Dylan's More Blood, More Tracks, the 14 edition of his long-running Bootleg Series. In 2019 Slate appeared onstage at the first World Of Bob Dylan conference in Tulsa, Oklahoma, sponsored by the Bob Dylan Center there, where he interviewed The Byrds' Roger McGuinn and performed with the legend. He also performed at all-star concerts celebrating The Clash's album London Calling in New York and L.A. In 2020, and Slate appeared at a show in Los Angeles fronting the band from the “Echo In The Canyon” film, as well as at an all-star concert at New York City's Town Hall honoring the 80th birthday of the Woody Guthrie song “This Land Is Your Land.”During the 2020 lockdown, Slate performed over forty Facebook Live and Instagram Live streaming concerts to thousands of fans each week, including one for the Martin Guitars series “Jam In Place,” and released the live album Lockdown Live taken from those performances. He also released the single and animated video “Heartbreak,” which featured Slick, Duff McKagan and other rock and roll luminaries, and contributed a cover of the Traveling Wilburys' song “Handle With Care” with his band to the official celebration of Tom Petty's 70th birthday.Slate proudly plays a Martin OM-28E Retro Acoustic Guitar with Martin Strings, as well as Hofner basses and Vox amps.Photo credit: Rachel NaomiLearn More about Lyte

Technique on the drum kit is essential but meaningless without the infusion of soul. Cats have monster chops but sometimes you look up on the bandstand and they are not listening- they are thrashing trying to eek out some kind of ego maniacal communication that does nothing to elevate the music. My guest today has serious chops and serious soul. It started back with Larry Harlow and Willie Colon and Ray Barretto and Joe Cuba playing drums and timbales on countless Fania albums. The Latin feel the clave beat the infectious cyclical propulsion. His adherence to Afro-Cuban rhythms was evident in the modal driving McCoy Tyner quartet. Channeling Coltrane's thesaurus' of scales and expressing the deep emotive visceral fire of the African American experience in this country. My guest was all over the New York Scene. Playing with folkies like Tim Hardin, Stoner Jazz with Jeremy Steig, Jazz Rock with Larry Coryell knowing that the 11th house comes after 10 but not before 12. It's hard to see live music today. Most bass players and drummers can't sustain the hypnotic pocket. That is not the case with my guest who has to hold it down with Henry the Skipper Franklin locking the groove- or Klaus Doldinger or Brian Auger or Wayne Shorter or John Klemmer. Alphonse Mouzon welcome to the JFS --- Support this podcast: https://anchor.fm/jake-feinberg/support

Episode 15: Luke Jenner - The Rapture. The Rapture frontman comes on the podcast to discuss everything from the noughties New York Scene & the Meet Me in the Bathroom book to mental health and his new career as a life coach.

Our guest on this episode is Daniel Louis Vezza, a truly global comedian who has performed to sold-out crowds in over fifteen countries including The Edinburgh Fringe Festival in Scotland and Melt Fest in Germany. He was also one of the pioneers of the English Language comedy scene in Berlin.Here, we talk about classical music, and how it is a rich people’s profession, about my move to America and buying a sandwich for a janitor, and Daniel doing edgy material in Berlin. We also talk about his influences, from famous comics to comics working in the New York Scene. We hope you enjoy listening to this episode!

In this episode, we examine glam rock's influence on punk, as well as talk about CBGB and the New York punk scene.

Benny Golson, le Messager du Jazz   Benny Golson dans le Terminal de Steven Spielberg.   Qui peut se targuer d'avoir connu John Coltrane à 16 ans ? Travaillé avec Lionel Hampton et Dizzy Gillespie ? Avoir été le directeur musical des Jazz Messengers, et joué son propre rôle dans un film de Steven Spielberg ? Vous, non ? Et bien Benny Golson, oui ! Saxophoniste de premier ordre, ténor au son généreux et velouté, Golson a traversé l'histoire du jazz sans faire de vagues… Et pourtant ! Derrière son air de gentleman, jamais avare d'anecdotes sur la vie des musiciens de jazz, se cache un homme déterminé et un immense compositeur. Car si l'histoire retiendra à coup sûr le nom de Benny Golson, c'est qu'il a signé une poignée de standards parmi les plus beaux du jazz moderne: Blues March, Along Came Betty, Whisper Not, I'll Remember Clifford ou encore Killer Joe. Et alors que le saxophoniste fête ses 90 printemps, il nous semblait évident de partir sur les traces de cet homme qui a dit un jour: “J'ai deux femmes: le saxophone et la composition… Je suis aussi infidèle à l'une qu'à l'autre, et je les aime toutes les deux…”   Etagère n°6… Boite n°5… Dossier BG1929… Benny Golson, le messager du jazz. Playlist Art Blakey - Blues March (Moanin', 1959, Blue Note Records)Benny Golson & Art Farmer - Killer Joe (Meet the Jazztet / At Birdhouse, 2012, Universe Remasterings)Benny Golson - Something in B flat (Benny Golson's New York Scene, 1988, Universal Music Group International)Lionel Hampton & Arnett Cobb - Flying Home N°2 (1944)Coleman Hawkins - Body and Soul (The Essential Coleman Hawkins, 1964, Legacy Recordings)John Coltrane - I'm Old Fashioned (John Coltrane: In A Sentimental Mood et ses plus grands succès remasterisé, 2013, The Restoration Project)Charlie Parker - A Night in Tunisia (Newly Discovered Sides by the Immortal Charlie Parker live, 1964, Savoy)Art Blakey & the Jazz Messengers - Now is the Time (Live in Scheveningen 1958, 2018, Fondamenta)Benny Golson - Stablemates (Benny Golson and the Philadelphians, 2004, Blue Note Records)Bullmoose Jackson - I Know Who Threw the Whiskey in the Well (Bullmoose Jackson Selected Favorites, 2006, Charly Records)Tadd Dameron - Dameronia (The Complete Blue Note and Capitol Recordings of Fats Navarro and Tadd Dameron, 1995, Blue Note Records)Tadd Dameron - The Scene is Clean (Fontainbleau, 2014, Blue Playa Records)Tadd Dameron & Clifford Brown - Choose Now (Take 1) (Clifford Brown Memorial, 1987, Concord Records, Inc.)Lionel Hampton - Vibe Boogie (The European Concerts 1953-1954, 2009, Fremeaux Heritage)Dizzy Gillespie - Left Hand Corner (Compact Jazz: Dizzy Gillespie Big Band, 1992, Verve Reissues)Dizzy Gillespie - Manteca (A Night in Tunisia, 1993, Intersound)Dizzy Gillespie - Whisper Not (Compact Jazz: Dizzy Gillespie Big Band, 1992, Verve Reissues)Dizzy Gillespie - Carioca (The Verve & Philips Small Group Sessions, 2006, Verve Reissues)Dizzy Gillespie - I Remember Clifford (Four Classic Albums: At Newport / Dizzy And Strings / World Statesman / Gene Norman Presents, 2009, AVID Entertainment)Art Blakey - Blues March (Moanin' Remastered, 1959, Blue Note Records)Art Blakey - Justice (The Very Best of Art Blakey remastered version, 2012, Unforgettable Record)Art Blakey & the Jazz Messengers - Warm-Up And Dialogue Between Lee and Rudy (Moanin' Remastered, 1999, Blue Note Records)Art Blakey & the Jazz Messengers - Moanin' (Moanin' / Justice, 1961, BNF Collection)Art Blakey & the Jazz Messengers - Are You Real (Moanin' Remastered, 1959, Blue Note Records)Art Blakey & the Jazz Messengers - Along Came Betty (Moanin' Remastered, 1959, Blue Note Records)Art Blakey & the Jazz Messengers - Blues March (Moanin' Remastered, 1959, Blue Note Records)Benny Golson - Whisper Not (Benny Golson's New York Scene, 1988, Universal Music Group International)Benny Golson - Out of the Past (Reunion, 1961, Kendal)The Jazztet...

George Tani , later to become Screaming Mad George, was born in Japan and headed out to seek his fortune in New York at the age of eighteen. Thus began an incredible story leading to his becoming a major makeup artist in Hollywood long before computer graphics rendered that art form obsolete. From his awakening through Salvador Dali's work to his punk rock band and on to a series of serendipity he landed on his feet with the major makeup artists of the era in Los Angeles. They mentored him as he worked for free as an assistant that led to his beginning a very successful career in that industry. From The Howling, American Werewolf and on to Cocoon he was introduced to an entirely new form of horror and SF surrrealism that he was totally ready to do something with. George is a great example of a man who learned as he moved and shows us how an artist can never really stand still. His time in the US with nine years in New York and two decades in L.A. finally led him back to Japan where he now teaches his skills to others. You can see him in action here with his punk band : https://youtu.be/Fxdiw1FKBkIand at one of his art shows in Germany here: https://www.youtube.com/watch?v=QRK5Je0ssmI

On this episode of The Sofa King Podcast, we get pumped and talk about one of the all-time greats of cinema, athletics, action, cigars, and politics: Arnold Schwarzenegger. This icon was born in 1947 (yes, he’s that old now!) in Austria, and his father was a drunken, abusive police chief who was once a paramilitary Nazi who was wounded in the Battle of Stalingrad. Let that sit with you for a minute. Living in a poor, broken home, Arnold turned to the cinema as an escape and fell in love with Hercules movies. This lead to him starting to body build as a teen, and by the time he was 18 and in the army, he was already winning big body building competitions. He took second place at his first Mr. Universe, and in doing so, he met some key people in the weight lifting game and was able to move out of his house and in with a family in London. Training here, he became the youngest winner of Mr. Universe and ultimately was able to move to California, where he trained with the legendary Joe Weider at Gold’s Gym and went on to win competition after competition. This was just a stepping stone in his career path, however, since he also decided to conquer movies. He starred in a truly horrible movie called Hercules in New York. (Surprisingly, it’s about the ancient Greek demigod. In New York. Go figure.) From there, he landed a Golden Globe for a roll opposite Sally Field, and he did a string of small roles leading up to his time as Conan the Barbarian in 1982. Just two years later, he starred in The Terminator, and the rest was history. He went on to make some of the most beloved action films of the 80s and 90s, and Arnold Schwarzenegger became a global household name. So what led to Arnold Schwarzenegger entering politics? What was his relationship to the famous political Kennedy family? Why do some people think he murdered a prominent British politician named Lord Lucan in the 1970s? Did he really beat people up for the mob with a lead pipe covered in plastic wrap? How did he end up running the notoriously Democratic state of California while he is a Republican? What was the story with his affair and illegitimate child? What does this have to do with Bakersfield (home of the Fight Club Studios)? Listen, laugh, learn. Conspiracy Theory of Murder: https://www.vice.com/en_us/article/xdvvmn/arnold-schwarzenegger-murder-conspiracy Hercules in New York Scene. So bad it's good: https://www.youtube.com/watch?v=TMUZect_pgY

The week on the show we blow the whole hardcore/graffiti connection wide open with guest and author of the new book Urban Styles: Graffiti in New York Hardcore, Freddy Alva! Sit back as the two discuss Freddy’s journey coming to & growing up in NYC with early rap, graffiti, hardcore and how it led him to documenting the connection between these worlds. This is a monster episode for all the fans of PUNK history and cultural studies! Also Touched On… Killing Joke On The Radio Freestyle vs. Breakdancing Meeting Writers Mackie & The Style Wars Connection Frontline: The Graffiti Hardcore Connection Bad Brains Come To New York & Changes Everything Graffiti & NYHC Logo Meeting An Armed Citizen In Jr. High Anthony Comunale Going To See Dayglo Abortion & Raw Power At CBGBs With A New Wave Friend Violence In HC Cro-Mags At The Ritz ABC No Rio & The "New" New York Scene Sane’s Of Sane Smith’s Punk Connection The Pyramid Club Some Records FTW & Zine Culture In New York Making The New Breed Comp Wanting To Document Absolution Divergent Politics Co-existing In NYHC Noise Rock: A Scene Unto Itself Noiseville Records Inside Out NY: More Obscure Then Than They Are now Time for Living: Beastie Boys Covering Frontline Tony Reitman Rules! Stimulated Dummies: The First Two Singers Of Frontline Filthy Sex: The MOST Obscure Graffiti/Punk Band Cooch Knows Punk In Peru & Much, Much More!!!! BROUGHT TO YOU BY VANS

This week on the hot ass mic we got Daddy himself: Garrett Swann of the Santa Barbara Swanns. This wanna-be millennial is relatively fresh to the New York Scene, but has definitely made a name for himself. Entrepreneur, lifestyler, model and ICON, Garrett gives us the wiser perspective on the young culture of NYC, providing insight that Litty & Sh*tty have never seen before. A dynamic and dope convo, this one is DEFINITELY an ep for the books. You can find Garrett on Instagram as @thegarrettswann. Enjoy

MAGNETIZEDTerence Blanchard (trumpet) is one of the most important musician/composer/band leaders of his generation. His emotionally moving and technically refined playing is considered by many jazz aficionados to recall earlier jazz trumpet styles. Born March 13, 1962, in New Orleans, the only child to parents Wilhelmina and Joseph Oliver Blanchard, a part-time opera singer and insurance company manager, the young Blanchard was encouraged by his father, Joseph Oliver, to learn to play the piano. In the third grade he discovered jazz trumpet when a big band, featuring Alvin Alcorn on trumpet, played at a school assembly. In his teens Blanchard attended the New Orleans Center of Creative Arts, where he studied and played with saxophonist Donald Harrison. While performing with Lionel Hampton's big band, he studied for two years at Rutgers University under the tutelage of Paul Jeffrey and Bill Fielder.In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey's Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Little ensemble. In the '90s, Blanchard became a leader in his own right, recording for the Columbia label, performing on the soundtracks to Spike Lee's Do the Right Thing and Mo' Better Blues, and composing the music for Lee's film Jungle Fever. In fact, Blanchard has written the score for every Spike Lee film since 1991, including Malcolm X, Clockers, Summer of Sam, 25th Hour, Inside Man, and the Hurricane Katrina documentary When the Levees Broke for HBO. With over 40 scores to his credit, Blanchard and Mark Isham are the most sought-after jazz musicians to ever compose for film. In the fall of 2000, Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. Keeping up with his love of live performance and touring, Blanchard also maintains a regular studio presence, recording his own original music for the Columbia, Sony Classical, and Blue Note labels. Albums include The Billie Holiday Songbook (1994), Romantic Defiance (1995), The Heart Speaks (1996), the acclaimed Wandering Moon (2000), Let's Get Lost (2001), Bounce (2003), and especially Flow (2005), which was produced by pianist Herbie Hancock and received two Grammy nominations. Blanchard has been nominated for 11 Grammys and has won four in total, including awards for New York Scene with Blakey (1984) and the soundtrack A Tale of God's Will in 2007. In 2005, Blanchard was part of McCoy Tyner's ensemble that won the Grammy in the Best Jazz Instrumental Album category for Illuminations. A quintessential sideman as well as leader, he has worked with prominent jazz players including Cedar Walton, Abbey Lincoln, Joanne Brackeen, Jay McShann, Ralph Peterson, Ed Thigpen, J.J. Johnson, Toots Thielemans, the Olympia Brass Band, Stevie Wonder, Bill Lee, Ray Brown, Poncho Sanchez, Dr. Billy Taylor, Dr. John, Lionel Loueke, Jeff Watts, and many others. Scarecrow Press published his autobiography, Contemporary Cat. By April of 2007, the Monk Institute announced its Commitment to New Orleans initiative, which included the relocation of the program to the campus of Loyola University in New Orleans, spearheaded by Blanchard. During 2007, the Monterey Jazz Festival named Blanchard Artist-in-Residence, and the festival formed a 50th Anniversary All-Stars ensemble featuring trumpeter James Moody, Benny Green, Derrick Hodge, Kendrick Scott, and Nnenna Freelon. In 2008, Blanchard helped scored the hit film Cadillac Records. Signing with Concord Jazz in 2009, he released Choices -- recorded at the Ogden Museum of Art in Blanchard's hometown of New Orleans -- at the end of that summer. In 2011, he paid tribute to the innovative Afro-Cuban recordings of Dizzy Gillespie and Chano Pozo by teaming up with Latin jazz percussionist Poncho Sanchez for the studio album Chano y Dizzy! In 2012, Blanchard returned to his film work by scoring the soundtrack to director George Lucas' WWII action/drama Red Tails.“I’ve always believed that in life, what you keep in your mind is what you draw to yourself.” That’s how trumpeter/composer Terence Blanchardexplains the title of his 20th album, Magnetic, which finds a stunning variety of sounds and styles pulled together by the irresistible force of Blanchard’s vision.That credo stems directly from Blanchard’s personal faith; raised in the Christian church, he has turned in recent years to Buddhism after meditating with Herbie Hancock while on the road with the legendary pianist. The idea of a spiritual magnetism “is a basic concept in any type of religion,” he says. “Both Christianity and Buddhism have forms of meditation - one’s called prayer and one’s called chanting. But it’s all about drawing on those things to help you attain enlightenment in your life at the same time that you’re trying to give back to the community.”Magnetic gives expression to that belief through the combined voices of Blanchard’s always-scintillating quintet. Its latest incarnation brings together longtime members Brice Winston (saxophone) and Kendrick Scott (drums) with pianist Fabian Almazan, who made his debut with the group on its 2009 album Choices, and its newest member, 21-year-old bass prodigy Joshua Crumbly. In addition, they’re joined by a trio of remarkable special guests: master bassist Ron Carter, saxophonist Ravi Coltrane, and guitarist/vocalist Lionel Loueke.The vast array of approaches undertaken by that ensemble is striking, from the blistering bop of “Don’t Run” to the fragile ballad “Jacob’s Ladder;” the psychedelic electronic haze of “Hallucinations” to the urgent edginess of “Another Step.” As Blanchard says, “It’s a wide range of musical ideas that come together through the efforts of the guys in the band.”Magnetic marks Blanchard’s return to Blue Note Records, which last released A Tale of God’s Will, his triumphant 2007 requiem for his home city, New Orleans, in the wake of the devastation wrought by Hurricane Katrina. That harrowingly emotional song cycle is just one of many large-scale projects Blanchard has undertaken in recent years. Since first writing music for Spike Lee’s 1990 jazz-set movie Mo’ Better Blues, Blanchard has become a renowned film composer with over 50 scores to his credit, most recently the WWII drama Red Tails for producer George Lucas. This summer, Opera Theatre of Saint Louis and Jazz St. Louis will combine forces to premiere Blanchard’s first opera, Champion, an “Opera in Jazz” based on the story of the gay boxing champion Emile Griffith. This follows his recent score for Emily Mann’s Broadway production of Tennessee Williams’ A Streetcar Named Desire.After the broad scope of such lofty undertakings, returning to a small group setting can be a challenge. “You get accustomed to having so many different colors at your disposal,” he says. “So I try to figure out a way to have as much diversity in everything that we play, the same expansive color palette as when you have an orchestra and voices.”One way that Blanchard expands his palette on Magnetic is through the use of electronics, creating an overdriven, electric guitar-like sound for his horn during “Pet Step Sitter’s Theme Song” or brewing the mind-altering atmospherics of “Hallucinations.” The latter tune, though titled by Blanchard’s 14-year-old daughter, also touches on the lifelong spiritual search evoked by the album-opening title track and “Central Focus,” which was originally recorded twenty years ago on Blanchard’s album Simply Stated. “When chanting for meditation,” he says, “you can have those moments of reflection that will bring new ideas to you. Some people may not call them hallucinations, but I think they’re all related in some fashion.”Not every tune comes from such profound motives. The hard-bopping “Don’t Run” was written solely with the intention of allowing the band to joust with Ravi Coltrane’s soprano and Ron Carter’s mighty bass runs. The title was inspired by a taunt from Carter to Blanchard, asking only half-jokingly when the trumpeter would call on the legendary bassist’s services. “Stop running from me, man,” Blanchard recalls him saying, and when Carter speaks, you listen.Coltrane’s contributions, which also include a taut, powerhouse turn on tenor for “Pet Step Sitter’s Theme Song,” came about simply because Blanchard was blown away by the saxophonist’s latest album, Spirit Fiction. “Ravi has developed a style and a sound that’s very unique,” Blanchard explains. “It’s an incredible feat given who his father was and what instrument his father played. But his being on my record has nothing to do with any of that; his being on my record is simply due to the fact that I love the way he plays.”The same goes for Benin-born Lionel Loueke, who first came to prominence through Blanchard’s quintet before becoming widely renowned as one of the most innovative guitarists and vocalists in modern jazz. “He’s a very unique talent,” Blanchard says. “Lionel always brings a certain spirit and energy to any project that he’s a part of.”Blanchard also readily sings the praises of his core group, which has been evolving over two years together to reach the deeply attuned point at which Magnetic finds them. “I’ve always appreciated the artistry of Brice and Kendrick,” he says of the band’s two veterans. “They’ve very seriously committed to developing their own unique styles of playing.”Of newcomer Crumbly, he says, “Josh is a young guy who’s very talented and brings a lot to the group.” And of Almazan, he continues, “Fabian has been growing by leaps and bounds. His harmonic knowledge has taken the band in interesting directions and he colors things in ways that I think are very fresh and forward-thinking.”So enamored is the bandleader of Almazan’s talents that he affords the pianist a solo spotlight, the captivating “Comet.” Almazan, Blanchard says, “plays with such grace and beauty. We did five or six takes and all of them were so beautiful that it was a hard to choose just one.”Each member of the group provides their own contributions to the album: Crumbly, the lovely and delicate “Jacob’s Ladder;” Scott, the forceful, rhythmically intense “No Borders Just Horizons;” Winston the lithe and intricate “Time To Spare;” and Almazan an “emotional roller coaster” dedicated to his mother, “Pet Step Sitters Theme Song,” which is later reprised as “Another Step.” “We had so much fun playing that tune that we just couldn’t leave it,” Blanchard explains. I thought it showed the diverse nature of the group, when you see the directions that it goes into, totally different from the first take.”In his role as mentor to his younger bandmates, Blanchard takes the mantle from his own onetime mentor, Art Blakey. Stressing the importance for young musicians to compose as well as improvise, Blanchard recalls the legendary drummer’s advice: “Art Blakey told us that composition was the path to finding your own voice. If you improvise, you don’t sit down and reflect coldly on what it is you’re playing because you’re moving so quickly onto the next thing. Whereas when you compose, you have to sit down and really contemplate what each note means and how you get from one to the next. That in itself will create a style.”Terence Blanchard’s own style continues to evolve and expand in exciting and compelling fashion. Magnetic is sure to capture listeners with an attractive power nearly impossible to resist.To Visit Terence Blanchard's website CLICK HERE