Podcasts about No Depression

This week, Justin was assigned the year 1990 and he selected No Depression, the debut album by Uncle Tupelo.25 Turning 25: The Best Albums of 1990 - https://figureheadsovpop.com/2015/09/21/25-turning-25-1990/Send your questions for an upcoming mailbag episode to punklottopod@gmail.com or our voicemail line 202-688-PUNKJoin our new $5 Patreon Producer Tier to get your name said on the show every week. You also get access to a Producer exclusive monthly bonus episode discussing a different EP, written content, outtakes, producer exclusive polls, and moreYou can also join our $1 tier to get access to all of our weekly bonus audio. We also have a $10 tier where you get to choose the album we discuss on an episode - patreon.com/punklottopodMajor Awards EP - majorawards.bandcamp.comMerch Shop  - redbubble.com/people/punk-lotto-pod/shopPodcast platforms and social media links at linktr.ee/punklottopodCall our voicemail line: 202-688-PUNKLeave us a review and rating on Apple Podcasts and Spotify.Song clips featured on this episode:Uncle Tupelo - Graveyard ShiftUncle Tupelo - That YearUncle Tupelo - Factory Belt

Drive-By Truckers co-founder Patterson Hood chats about his band, the evolution of his songwriting process, and his most recent solo album.PART ONEWater. Bed. Rock!!!PART TWOOur in-depth conversation with Patterson HoodABOUT PATTERSON HOODMuscle Shoals, Alabama, native Patterson Hood is best known, along with Mike Cooley, as the co-founder of the band Drive-By Truckers. Drawing from a range of rock and country influences, the group emerged from the Athens, Georgia, music scene in the mid-1990s, releasing their debut album, Gangstabilly, in 1988. Following the success of their third album, Southern Rock Opera, Drive-By Truckers were named Band of the Year by No Depression magazine in 2002. Jason Isbell joined the group for the acclaimed albums Decoration Day, The Dirty South, and A Blessing and a Curse. Following Isbell's departure, the album Brighter Than Creation's Dark became Drive-By Truckers' first album to reach the Top 40 on the Billboard 200 chart. Subsequent albums The Big To-Do, Go-Go Boots, English Oceans, and American Band all reached the Top 40, as well as the top ten on Billboard's US Rock chart. In all, the band has released fourteen studio albums. In addition to his work with Drive-By Truckers, Hood has released four solo albums. The latest, released in February, is called Exploding Trees & Airplane Screams. 

Interview with Joe Adducci of Souled American. April 19th Souled American at Negative Space Cleveland OH Tickets  "There are cult bands and then there's Souled American. In 1988, the Illinois group arguably invented "alternative country" with the album Fe. While the alt-country sound is widely recognized as Southern roots rock with an indie-punk sensibility — largely defined by Uncle Tupelo's No Depression released two years later — Souled American's early music feels as if it was formed in a vacuum, inspired by the time-stretching space of reggae. But over the course of the following decade, Souled American's music grew increasingly slow, insular and esoteric. Although Fe, Flubber and Around the Horn are inarguably more accessible, upbeat and even sometimes fun, if you've never heard this music before, it actually makes sense to start at the end." NPR MUSIC.   Souled American Info: https://www.souledamerican.net/       C-Level Pete Francis June 13th Winchester Lakewood OH

"With a quarter million miles under her belt and counting, North Carolina native Emily Scott Robinson travels the dusty highways of America's wild country, capturing the stories of the people she meets and expertly crafting them into songs. Robinson received critical acclaim for her debut album Traveling Mercies-- Rolling Stone named it one of the “40 Best Country and Americana Albums of 2019.” In 2021, Robinson signed with Oh Boy Records, the label founded by the legendary John Prine, and released her follow-up album "American Siren." It made numerous “Best of 2021” lists including NPR, Rolling Stone, American Songwriter, and No Depression." (emilyscottrobinson.com) I've been wanting to have ESR on the show for a while, and when I learned she was playing a show with a couple of my friends at the end of 2024, I made them ask her for me! She said yes, and here we are. Robinson currently resides in Ouray, CO, and tours the US and UK consistently. Recently, she supported Ron Pope for a run in the UK. During our conversation, we chat about traveling logistics out of a small town (tisk tisk Southwest!!), her life changing experience at Song School at Rocky Mountain Folks Fest in Lyons, CO, and her decision to buy an RV and travel as a full time musician in her 20s. If you enjoy the podcast, please let others know, subscribe, or write a review! IF YOU'D LIKE TO SUPPORT THE PODCAST IN A MONETARY WAY, I'M NOW ON PATREON! Please note: new Patreon members get to pick a cover song for me to record especially for them! www.patreon.com/andysydow Guest Links: https://www.emilyscottrobinson.com Episode Music: Original music by Andy Sydow Contact me: middleclassrockstar@gmail.com (or) andysydowmusic@gmail.com

In this episode I sit down with Reverend Peyton of the Big Damn Band. These guys are one of my all time favourite live bands. We catch up with Rev on tour in the U.S and just after releasing their new record 'Honeysuckle' Their new record, Honeysuckle, was released on February 21 and was mixed by six-time Grammy winner Vance Powell (Chris Stapleton, Jack White). The record features many special guests, including gospel music group The McCrary Sisters, Blues Music Hall of Famer and Grammy-nominated harmonica player Billy Branch, Grammy award-winning and IBMA's 10-time Fiddle Player of the Year Michael Cleveland and Colton Crawford from The Dead South. The band is critically acclaimed by Rolling Stone, Relix, Popmatters, Guitar World, American Songwriter, No Depression, Glide, Wide Open Country, Paste, American Blues Scene and many more!Become a plus member now: https://www.buzzsprout.com/950998/subscribe Download the Triad Method: https://thebluesguitarshow.com/the-triad-method/Support the showTo get your hands on THE TRIAD METHOD: https://thebluesguitarshow.com/product/the-triad-method/Become a Blues Guitar Show Member: https://www.buzzsprout.com/950998/subscribeHead over to www.thebluesguitarshow.com to subscribe to the mailing list

Long-time views of the show know that I've always been skeptical of equating Trump/MAGA with European fascism. I've always thought it historically facile and misleading. But I'm beginning to change my mind. Take, for example, David Masciotra's thoughts on Trump's “ravenous bigotry” toward the trans community. As Masciotra warns, this is the kind of organized, willful persecution of powerless minorities that fascist parties openly pursued while in power. Meanwhile, as Masciotra notes, prominent Dems like Gavin Newsom are staging a “shameful retreat” on trans rights and inviting neo-fascists like Steve Bannon onto their podcast shows. And then there's Schumer. Oy.Here are the five KEEN ON AMERICA takeaways with our conversation with Masciotra* Democrats' retreat on trans rights: Masciotra argues that Democrats, including figures like Gavin Newsom and Rahm Emanuel, are retreating from defending transgender rights after the election loss, which he views as both a moral failure and a strategic mistake.* Targeted anti-trans rhetoric: According to Masciotra, 41% of Trump's campaign ads specifically targeted transgender Americans, demonstrating how the issue has been deliberately weaponized for political purposes despite transgender people making up less than 1% of the population.* Trans rights as the "first course": Masciotra warns that "bigotry is ravenous," suggesting that abandoning transgender rights opens the door to attacks on other minority groups, comparing it to a restaurant menu where "trans people are the first course."* Democratic leadership criticism: David Masciotra is highly critical of Democratic leadership, particularly Chuck Schumer, whom he describes as "pathetic" and "inert" in his response to Trump's policies, with Masciotra noting a generational divide in the party's approach to resistance.* Authoritarian tactics and erasure: Masciotra discusses concerning developments like the National Park Service removing transgender references from Stonewall Rebellion information, which he characterizes as a "totalitarian termination of knowledge" mirroring authoritarian tactics described in Orwell's 1984.David Masciotra is an author, lecturer, and journalist. He is the author of Exurbia Now: The Battleground of American Democracy (Melville House Publishing, 2024) I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese and Greek. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting the daily KEEN ON show, he is the host of the long-running How To Fix Democracy interview series. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On America is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

BMG recording artist/singer/songwriter and multi-instrumentalist A.J. Croce's new 11-track album, "Heart of the Eternal," will be released on March 7. Produced by Shooter Jennings (Brandi Carlile, Tanya Tucker), "Heart of the Eternal" will feature a selection of songs that journey from psychedelia to Philadelphia soul to Latin-infused jazz-pop. Croce, son of legendary singer/songwriter Jim Croce, has toured with/collaborated with such legends and luminaries as B.B. King, Willie Nelson, Ray Charles, Leon Russell, Allen Toussaint, Neville Brothers, Bela Fleck and Ry Cooder, to name a few, all while building up an acclaimed catalog that blurs the boundaries between blues, soul, rock & roll, Americana, and much more. In conjunction with "Heart of the Eternal," Croce's upcoming yearlong "Heart of The Eternal Tour" will kick off nationwide on February 20 at The Parker in Fort Lauderdale, Florida, through April 6 at the Opera House in Lexington, Kentucky (check A.J.'s website and local listings for additional performances to be announced in 2025). Tickets can be purchased for the "Heart of The Eternal Tour" at www.ajcrocemusic.com  "Heart of the Eternal" is the latest collection of Croce's songwriting and heart-on-sleeve emotion -- the follow up to his critically lauded cover album "By Request" -his first original body of work since 2017's "Just Like Medicine," which was hailed as "brilliant" by No Depression and a "fluid expression of sorrow and gratitude" by Pop Matters. Says Croce: "I've always felt that music is the heart of our humanity. It's the purest way to connect to one another. Every songwriter I've ever met has told me that they don't know where their greatest songs have come from. Maybe it's our dreams or subconscious that allow us to draw from that eternal well of creativity. I don't know the answer but I'm always looking for it. While stylistically diverse, this album is my search for the heart of the eternal." Recorded at the Sunset Sound in Los Angeles, California, Croce's 11th studio album features bassist David Barard (a Grammy-winner who performed with Dr. John for nearly four decades), drummer Gary Mallaber (whose credits include Van Morrison's Moondance and Tupelo Honey), and guitarist James Pennebaker (Delbert McClinton, Jimmie Dale Gilmore). The album was completed during Croce's downtime from his ongoing "Croce Plays Croce" tour-a widely celebrated run in which he performs classic songs from his late father Jim, along with his own material and a number of specially curated covers.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

BMG recording artist/singer/songwriter and multi-instrumentalist A.J. Croce's new 11-track album, "Heart of the Eternal," will be released on March 7. Produced by Shooter Jennings (Brandi Carlile, Tanya Tucker), "Heart of the Eternal" will feature a selection of songs that journey from psychedelia to Philadelphia soul to Latin-infused jazz-pop. Croce, son of legendary singer/songwriter Jim Croce, has toured with/collaborated with such legends and luminaries as B.B. King, Willie Nelson, Ray Charles, Leon Russell, Allen Toussaint, Neville Brothers, Bela Fleck and Ry Cooder, to name a few, all while building up an acclaimed catalog that blurs the boundaries between blues, soul, rock & roll, Americana, and much more. In conjunction with "Heart of the Eternal," Croce's upcoming yearlong "Heart of The Eternal Tour" will kick off nationwide on February 20 at The Parker in Fort Lauderdale, Florida, through April 6 at the Opera House in Lexington, Kentucky (check A.J.'s website and local listings for additional performances to be announced in 2025). Tickets can be purchased for the "Heart of The Eternal Tour" at www.ajcrocemusic.com  "Heart of the Eternal" is the latest collection of Croce's songwriting and heart-on-sleeve emotion -- the follow up to his critically lauded cover album "By Request" -his first original body of work since 2017's "Just Like Medicine," which was hailed as "brilliant" by No Depression and a "fluid expression of sorrow and gratitude" by Pop Matters. Says Croce: "I've always felt that music is the heart of our humanity. It's the purest way to connect to one another. Every songwriter I've ever met has told me that they don't know where their greatest songs have come from. Maybe it's our dreams or subconscious that allow us to draw from that eternal well of creativity. I don't know the answer but I'm always looking for it. While stylistically diverse, this album is my search for the heart of the eternal." Recorded at the Sunset Sound in Los Angeles, California, Croce's 11th studio album features bassist David Barard (a Grammy-winner who performed with Dr. John for nearly four decades), drummer Gary Mallaber (whose credits include Van Morrison's Moondance and Tupelo Honey), and guitarist James Pennebaker (Delbert McClinton, Jimmie Dale Gilmore). The album was completed during Croce's downtime from his ongoing "Croce Plays Croce" tour-a widely celebrated run in which he performs classic songs from his late father Jim, along with his own material and a number of specially curated covers.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Howdy, cowpokes. I hope you're hanging in there. This episode is a little bit different. Instead of interviewing one artist, I included excerpts from interviews for an article coming up in No Depression's Spring 2025 issue: how trans artists are drawing strength and preparing for the Trump administration. We hear from Mya Byrne, Paisley Fields, Abigail Lucas, Flamy Grant, Adrian Blake Enscoe, She Returns From War. Subscribe to No Depression to read the full article in the Spring 2025 issue. Subscribe to Rainbow Rodeo -- paid or free - to stay up-to-date on the latest queer country news and music! This episode was sponsored by Post Transition media company -- you, too, can sponsor Rainbow Rodeo by clicking here! Music Mya Byrne and Paisley Fields -- "Burn This Statehouse Down" (04:31) Flamy Grant -- "Revenge" (11:49) Abigail Lucas -- "Black Me Out" (19:37) Bandits on the Run -- "Back Home" (28:46) She Returns From War -- "Ruthless" (33:29)

Remember that time in 1977 when Jesse Jackson debated KKK grand wizard David Duke on national tv? As David Masciotra reminds us, it was one of those now forgotten moments from the recent past that can help bring some clarity to today's American politics. In particular, Masciotra argues, the 1977 debate underlines the idiocy of Kamala Harris' refusal to go on Joe Rogan show. As Masciotra explains, this primetime tv debate in which Jackson crushes Duke shows why progressives like Harris should always take on ideological enemies Joe Rogan. Civil argument matters, Masciotra insists. Even if it involves jousting with people whose views you consider beyond the pale. David Masciotra is an author, lecturer, and journalist. He is the author of Exurbia Now: The Battleground of American Democracy (Melville House Publishing, 2024) I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese and Greek. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

In this KEEN ON Andrew Keen special, guest host David Masciotra interviews Andrew about his controversial book Cult of the Amateur. While David generously describes it as prescient, Andrew focuses more on what the 2007 book got blatantly wrong - like dismissing Google's $1.5 billion acquisition of YouTube. Duh. What both David and Andrew agree on, however, is that the book'sn focus on the damage that the supposedly “democratizing” Web 2.0 revolution did to both our culture and politics is still of massive significance. Perhaps it might be time for a 20th anniversary rewrite, a Cult of the Amateur 2.0 for our brave new AI world. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. His next book, Exurbia Now: Notes from the Battleground of American Democracy, is scheduled for publication from Melville House Books in 2024. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove. Masciotra lives in Indiana, and teaches literature and political science courses at the University of St. Francis and Indiana University Northwest. Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

So how can The Dude and The Boss save America? According to the cultural critic, David Masciotra, Jeffrey "The Dude" Lebowski and Bruce “The Boss” Springsteen, represent the antithesis of Donald Trumps's illiberal authoritarianism. Masciotra's thesis of Lebowski and Springsteen as twin paragons of American liberalism is compelling. Both men have a childish faith in the goodness of others. Both offer liberal solace in an America which, I fear, is about to become as darkly surreal as The Big Lebowski. Transcript:“[Springsteen] represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance.” -David MasciotraAK: Hello, everybody. We're still processing November the 5th. I was in the countryside of Northern Virginia a few days ago, I saw a sign, for people just listening, Trump/Vance 2024 sign with "winner" underneath. Some people are happy. Most, I guess, of our listeners probably aren't, certainly a lot of our guests aren't, my old friend John Rauch was on the show yesterday talking about what he called the "catastrophic ordinariness" of the election and of contemporary America. He authored two responses to the election. Firstly, he described it in UnPopulist as a moral catastrophe. But wearing his Brookings hat, he's a senior fellow at the Brookings Institute, described it as an ordinary election. I think a lot of people are scratching their head, trying to make sense of it. Another old friend of the show, David Masciotra, cultural writer, political writer. An interesting piece in the Washington Monthly entitled "How Francis Fukuyama and The Big Lebowski Explain Trump's Victory." A very creative piece. And he is joining us from Highland Indiana, not too far from Chicago. David. The Big Lebowski and Francis Fukuyama. Those two don't normally go together, certainly in a title. Let's talk first about Fukuyama. How does Fukuyama explain November the 5th? DAVID MASCIOTRA: In his. Well, first, thanks for having me. And I should say I watched your conversation with Jonathan Rauch, and it was quite riveting and quite sobering. And you talked about Fukuyama in that discussion as well. And you referenced his book, The End of History and the Last Man, a very often misinterpreted book, but nonetheless, toward its conclusion, Fukuyama warns that without an external enemy, liberal democracies may indeed turn against themselves, and we may witness an implosion rather than an explosion. And Fukuyama said that this won't happen so much for ideological reasons, but it will happen for deeply psychological ones, namely, without a just cause for which to struggle, people will turn against the just cause itself, which in this case is liberal democracy, and out of a sense of boredom and alienation, they'll grow increasingly tired of their society and cultivate something of a death wish in which they enjoy imagining their society's downfall, or at least the downfall of some of the institutions that are central to their society. And now I would argue that after the election results, we've witnessed the transformation of imagining to inviting. So, there is a certain death wish and a sense of...alienation and detachment from that which made the United States of America a uniquely prosperous and stable country with the ability to self-correct the myriad injustices we know are part of its history. Well now, people--because they aren't aware of the institutions or norms that created this robust engine of commerce and liberty--they've turned against it, and they no longer invest in that which is necessary to preserve it.AK: That's interesting, David. The more progressives I talk to about this, the more it--there's an odd thing going on--you're all sounding very conservative. The subtitle of the piece in the Washington Monthly was "looking at constituencies or issues misses the big point. On Tuesday, nihilism was on display, even a death wish in a society wrought by cynicism." Words like nihilism and cynicism, David, historically have always been used by people like Allan Blum, whose book, of course, The Closing of the American Mind, became very powerful amongst American conservatives now 40 or 50 years ago. Would you accept that using language like nihilism and cynicism isn't always associated--I mean, you're a proud progressive. You're a man of the left. You've never disguised that. It's rather odd to imagine that the guys like you--and in his own way, John Rauch too, who talks about the moral catastrophe of the election couple of weeks ago. You're all speaking about the loss of morality of the voter, or of America. Is there any truth to that? Making some sense?DAVID MASCIOTRA: That's a that's a fair observation. And Jonathan Rauch, during your conversation and in his own writing, identifies a center right. I would say I'm center left.AK: And he's--but what's interesting, what ties you together, is that you both use the L-word, liberal, to define yourselves. He's perhaps a liberal on the right. You're a liberal on the left.DAVID MASCIOTRA: Yes. And I think that the Trump era, if we can trace that back to 2015, has made thoughtful liberals more conservative in thought and articulation, because it forces a confrontation and interrogation of a certain naivete. George Will writes in his book, The Conservative Sensibility, that the progressive imagines that which is the best possible outcome and strives to make it real, whereas the conservative imagines the worst possible outcome and does everything he can to guard against it. And now it feels like we've experienced, at least electorally, the worst possible outcome. So there a certain revisitation of that which made America great, to appropriate a phrase, and look for where we went wrong in failing to preserve it. So that kind of thinking inevitably leads one to use more conservative language and deal in more conservative thought.AK: Yeah. So for you, what made America great, to use the term you just introduced, was what? Its morality? The intrinsic morality of people living in it and in the country? Is that, for you, what liberalism is?DAVID MASCIOTRA: Liberalism is a system in and the culture that emanates out of that system. So it's a constitutional order that creates or that places a premium on individual rights and allows for a flourishing free market. Now, where my conception of liberalism would enter the picture and, perhaps Jonathan Rauch and I would have some disagreements, certainly George Will and I, is that a bit of governmental regulation is necessary along with the social welfare state, to civilize the free market. But the culture that one expects to flow from that societal order and arrangement is one of aspiration, one in which citizens fully accept that they are contributing agents to this experiment in self-governance and therefore need to spend time in--to use a Walt Whitman phrase--freedom's gymnasium. Sharpening the intellect, sharpening one's sense of moral duty and obligation to the commons, to the public good. And as our society has become more individualistic and narcissistic in nature, those commitments have vanished. And as our society has become more anti-intellectual in nature, we are seeing a lack of understanding of why those commitments are even necessary. So that's why you get a result like we witnessed on Tuesday, and that I argue in my piece that you were kind enough to have me on to discuss, is a form of nihilism, and The Big Lebowski reference, of course--AK: And of course, I want to get to Lebowski, because the Fukuyama stuff is interesting, but everyone's writing about Fukuyama and the end of history and why history never really ended, of course. It's been going on for years now, but it's a particularly interesting moment. We've had Fukuyama on the show. I've never heard anyone, though, compare the success of Trump and Trumpism with The Big Lebowski. So, one of the great movies, of course, American movies. What's the connection, David, between November 5th and The Big Lebowski? DAVID MASCIOTRA: Well, The Big Lebowski is one of my favorite films. I've written about it, and I even appeared at one of the The Big Lebowski festivals that takes place in United States a number of years ago. But my mind went to the scene when The Dude is in his bathtub and these three menacing figures break into his apartment. They drop a gerbil in the bathtub. And The Dude, who was enjoying a joint by candlelight, is, of course, startled and frightened. And these three men tell him that if he does not pay the money they believe he owes them, they will come back and, in their words, "cut off your Johnson." And The Dude gives them a quizzical, bemused look. And one of them says, "You think we are kidding? We are nihilists. We believe in nothing." And then one of them screams, "We'll cut off your Johnson." Well, I thought, you know, we're looking at an electorate that increasingly, or at least a portion of the electorate, increasingly believes in nothing. So we've lost faith.AK: It's the nihilists again. And of course, another Johnson in America, there was once a president called Johnson who enjoyed waving his Johnson, I think, around in public. And now there's the head of the house is another Johnson, I think he's a little shyer than presidents LBJ. But David, coming back to this idea of nihilism. It often seems to be a word used by people who don't like what other people think and therefore just write it off as nihilism. Are you suggesting that the Trump crowd have no beliefs? Is that what nihilism for you is? I mean, he was very clear about what he believes in. You may not like it, but it doesn't seem to be nihilistic.DAVID MASCIOTRA: That's another fair point. What I'm referring to is not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms. It's very difficult to imagine had George H. W. Bush attempted to steal the election in which Bill Clinton won, that George H. W. Bush could have run again and won. So we've lost faith in something essential to our electoral system. We've lost faith in the standards of decency that used to, albeit imperfectly, regulate our national politics. So the man to whom I just refered, Bill Clinton, was nearly run out of office for having an extramarital affair, a misdeed that cannot compare to the myriad infractions of Donald Trump. And yet, Trump's misdeeds almost give him a cultural cachet among his supporters. It almost makes him, for lack of a better word, cool. And now we see, even with Trump's appointments, I mean, of course, it remains to be seen how it plays out, that we're losing faith in credentials and experience--AK: Well they're certainly a band of outlaws and very proud to be outlaws. It could almost be a Hollywood script. But I wonder, David, whether there's a more serious critique here. You, like so many other people, both on the left and the right, are nostalgic for an age in which everyone supposedly agreed on things, a most civil and civilized age. And you go back to the Bushes, back to Clinton. But the second Bush, who now seems to have appeared as this icon, at least moral icon, many critics of Trump, was also someone who unleashed a terrible war, killing tens of thousands of people, creating enormous suffering for millions of others. And I think that would be the Trump response, that he's simply more honest, that in the old days, the Bushes of the world can speak politely and talk about consensus, and then unleash terrible suffering overseas--and at home in their neoliberal policies of globalization--Trump's simply more honest. He tells it as it is. And that isn't nihilistic, is it?DAVID MASCIOTRA: Well, you are gesturing towards an important factor in our society. Trump, of course, we know, is a dishonest man, a profoundly dishonest--AK: Well, in some ways. But in other ways, he isn't. I mean, in some ways he just tells the truth as it is. It's a truth we're uncomfortable with. But it's certainly very truthful about the impact of foreign wars on America, for example, or even the impact of globalization. DAVID MASCIOTRA: What you're describing is an authenticity. That that Trump is authentic. And authenticity has become chief among the modern virtues, which I would argue is a colossal error. Stanley Crouch, a great writer, spent decades analyzing the way in which we consider authenticity and how it inevitably leads to, to borrow his phrase, cast impurity onto the bottom. So anything that which requires effort, refinement, self-restraint, self-control, plays to the crowd as inauthentic, as artificial--AK: Those are all aristocratic values that may have once worked but don't anymore. Should we be nostalgic for the aristocratic way of the Bushes?DAVID MASCIOTRA: I think in a certain respect, we should. We shouldn't be nostalgic for George W. Bush's policies. I agree with you, the war in Iraq was catastrophic, arguably worse than anything Trump did while he was president. His notoriously poor response to Hurricane Katrina--I mean, we can go on and on cataloging the various disasters of the Bush administration. However, George W. Bush as president and the people around him did have a certain belief in the liberal order of the United States and the liberal order of the world. Institutions like NATO and the EU, and those institutions, and that order, has given the United States, and the world more broadly, an unrivaled period of peace and prosperity.AK: Well it wasn't peace, David. And the wars, the post-9/11 wars, were catastrophic. And again, they seem to be just facades--DAVID MASCIOTRA: We also had the Vietnam War, the Korean War. When I say peace, I mean we didn't have a world war break out as we did in the First World War, in the Second World War. And that's largely due to the creation and maintenance of institutions following the Second World War that were aimed at the preservation of order and, at least, amicable relations between countries that might otherwise collide.AK: You're also the author, David, of a book we've always wanted to talk about. Now we're figuring out a way to integrate it into the show. You wrote a book, an interesting book, about Bruce Springsteen. Working on a Dream: the Progressive Political Vision of Bruce Springsteen. Bruce Springsteen has made himself very clear. He turned out for Harris. Showed up with his old friend, Barack Obama. Clearly didn't have the kind of impact he wanted. You wrote an interesting piece for UnHerd a few weeks ago with the title, "Bruce Springsteen is the Last American Liberal: he's still proud to be born in the USA." Is he the model of a liberal response to the MAGA movement, Springsteen? DAVID MASCIOTRA: Well, of course, I wouldn't go so far as to say the last liberal. As most readers just probably know, writers don't compose their own headlines--AK: But he's certainly, if not the last American liberal, the quintessential American liberal.DAVID MASCIOTRA: Yes. He represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance. And those are, of course, the forms of liberalism that now feel as if they are under threat. Now, to that point, you know, this could have just come down to inflation and some egregious campaign errors of Kamala Harris. But it does feel as if when you have 70 some odd million people vote for the likes of Donald Trump, that the values one can observe in the music of Bruce Springsteen or in the rhetoric of Barack Obama, for that matter, are no longer as powerful and pervasive as they were in their respective glory days. No pun intended.AK: Yeah. And of course, Springsteen is famous for singing "Glory Days." I wonder, though, where Springsteen himself is is a little bit more complex and we might be a little bit more ambivalent about him, there was a piece recently about him becoming a billionaire. So it's all very well him being proud to be born in the USA. He's part--for better or worse, I mean, it's not a criticism, but it's a reality--he's part of the super rich. He showed out for Harris, but it didn't seem to make any impact. You talked about the diversity of Springsteen. I went to one of his concerts in San Francisco earlier this year, and I have to admit, I was struck by the fact that everyone, practically everyone at the concert, was white, everyone was wealthy, everyone paid several hundred dollars to watch a 70 year old man prance around on stage and behave as if he's still 20 or 30 years old. I wonder whether Springsteen himself is also emblematic of a kind of cultural, or political, or even moral crisis of our old cultural elites. Or am I being unfair to Springsteen?DAVID MASCIOTRA: Well, I remember once attending a Springsteen show in which the only black person I saw who wasn't an employee of the arena was Clarence Clemons.AK: Right. And then Bruce, of course, always made a big deal. And there was an interesting conversation when Springsteen and Obama did a podcast together. Obama, in his own unique way, lectured Bruce a little bit about Clarence Clemons in terms of his race. But sorry. Go on.DAVID MASCIOTRA: Yeah. And Springsteen has written and discussed how he had wished he had a more diverse audience. When I referred to diversity in his music, I meant the stories he aimed to tell in song certainly represented a wide range of the American experience. But when you talk about Springsteen, perhaps himself representing a moral crisis--AK: I wouldn't say a crisis, but he represents the, shall we say, the redundancy of that liberal worldview of the late 20th century. I mean, he clearly wears his heart on his sleeve. He means well. He's not a bad guy. But he doesn't reach a diverse audience. His work is built around the American working class. None of them can afford to show up to what he puts on. I mean, Chris Christie is a much more typical fan than the white working class. Does it speak of the fact that there's a...I don't know if you call it a crisis, it's just...Springsteen isn't relevant anymore in the America of the 2020s, or at least when he sang and wrote about no longer exists.DAVID MASCIOTRA: Yes, I agree with that. So first of all, the working class bit was always a bit overblown with Springsteen. Springsteen, of course, was never really part of the working class, except when he was a child. But by his own admission, he never had a 9 to 5 job. And Springsteen sang about working class life like William Shakespeare wrote about teenage love. He did so with a poetic grandeur that inspired some of his best work. And outside looking in, he actually managed to offer more insights than sometimes people on the inside can amount to themselves. But you're certainly correct. I mean, the Broadway show, for example, when the tickets were something like a thousand a piece and it was $25 to buy a beer. There is a certain--AK: Yeah and in that Broadway show, which I went to--I thought it was astonishing, actually, a million times better than the show in San Francisco.DAVID MASCIOTRA: It was one of the best things he ever did.AK: He acknowledges that he made everything up, that he wasn't part of the American working class, and that he'd never worked a day in his life, and yet his whole career is is built around representing a social class and a way of life that he was never part of.“Not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms.” -DMDAVID MASCIOTRA: Right. And he has a lyric himself: "It's a sad, funny ending when you find yourself pretending a rich man in a poor man's shirt." So there always was this hypocrisy--hypocrisy might be a little too strong--inconsistency. And he adopted a playful attitude toward it in the 90s and in later years. But to your point of relevance, I think you're on to something there. One of the crises I would measure in our society is that we no longer live in a culture of ambition and aspiration. So you hear this when people say that they want a political leader who talks like the average person, or the common man. And you hear this when "college educated" is actually used as an insult against a certain base of Democratic voters. There were fewer college-educated voters when John F. Kennedy, Richard Nixon, Ronald Reagan ran for president, all of whom spoke with greater eloquence and a more expansive vocabulary and a greater sense of cultural sophistication than Donald Trump or Kamala Harris did. And yet there was no objection, because people understood that we should aspire to something more sophisticated. We should aspire to something more elevated beyond the everyday vernacular of the working class. And for that reason, Springsteen was able to become something of a working-class poet, despite never living among the working class beyond his childhood. Because his poetry put to music represented something idealistic about the working class.AK: But oddly enough, it was a dream--there's was a word that Springsteen uses a lot in his work--that was bought by the middle class. It wasn't something that was--although, I think in the early days, probably certainly in New Jersey, that he had a more working-class following.DAVID MASCIOTRA: We have to deal with the interesting and frustrating reality that the people about whom Springsteen sings in those early songs like "Darkness on the Edge of Town" or "The River" would probably be Trump supporters if they were real.AK: Yeah. And in your piece you refer to, not perhaps one of his most famous albums, The Rising, but you use it to compare Springsteen with another major figure now in America, much younger man to Ta-Nehisi Coates, who has a new book out, which is an important new book, The Message. You seem to be keener on Springsteen than Coates. Tell us about this comparison and what the comparison tells us about the America of the 2020s.DAVID MASCIOTRA: Well, Coates...the reason I make the comparison is that one of Springsteen's greatest artistic moments, in which he kind of resurrected his status as cultural icon, was the record he put out after the 9/11 attack on the United States, The Rising. And throughout that record he pays tribute, sometimes overtly, sometimes subtly, to the first responders who ascended in the tower knowing they would perhaps die.AK: Yeah. You quote him "love and duty called you someplace higher." So he was idealizing those very brave firefighters, policemen who gave up their lives on 9/11.DAVID MASCIOTRA: Exactly. Representing the best of humanity. Whereas Ta-Nehisi Coates, who has become the literary superstar of the American left, wrote in his memoir that on 9/11, he felt nothing and did not see the first responders as human. Rather, they were part of the fire that could, in his words, crush his body.AK: Yeah, he wrote a piece, "What Is 9/11 to Descendants of Slaves?"DAVID MASCIOTRA: Yes. And my point in making that comparison, and this was before the election, was to say that the American left has its own crisis of...if we don't want to use the word nihilism, you objected to it earlier--AK: Well, I'm not objecting. I like the word. It's just curious to hear it come from somebody like yourself, a man, certainly a progressive, maybe not--you might define yourself as being on the left, but certainly more on the left and on the right.DAVID MASCIOTRA: Yes, I would agree with that characterization. But that the left has its own crisis of nihilism. If if you are celebrating a man who, despite his journalistic talents and intelligence, none of which I would deny, refused to see the humanity of the first responders on the 9/11 attack and, said that he felt nothing for the victims, presumably even those who were black and impoverished, then you have your own crisis of belief, and juxtaposing that with the big hearted, humanistic liberalism of Springsteen for me shows the left a better path forward. Now, that's a path that will increasingly close after the victory of Trump, because extremism typically begets extremism, and we're probably about to undergo four years of dueling cynicism and rage and unhappy times.AK: I mean, you might respond, David, and say, well, Coates is just telling the truth. Why should a people with a history of slavery care that much about a few white people killed on 9/11 when their own people lost millions through slavery? And you compare them to Springsteen, as you've acknowledged, a man who wasn't exactly telling the truth in his heart. I mean, he's a very good artist, but he writes about a working class, which even he acknowledges, he made most of it up. So isn't Coates like Trump in an odd kind of way, aren't they just telling an unvarnished truth that people don't want to hear, an impolite truth?DAVID MASCIOTRA: I'm not sure. I typically shy away from the expression "my truth" or "his truth" because it's too relativistic. But I'll make an exception in this case. I think Coates is telling HIS truth just as Trump is telling HIS truth, if that adds up to THE truth, is much more dubious. Yes, we could certainly say that, you know, because the United States enslaved, tortured, and otherwise oppressed millions of black people, it may be hard for some black observers to get teary eyed on 9/11, but the black leaders whom I most admire didn't have that reaction. I wrote a book about Jesse Jackson after spending six years interviewing with him and traveling with him. He certainly didn't react that way on 9/11. Congressman John Lewis didn't react that way on 9/11. So, the heroes of the civil rights movement, who helped to overcome those brutal systems of oppression--and I wouldn't argue that they're overcome entirely, but they helped to revolutionize the United States--they maintained a big-hearted sense of empathy and compassion, and they recognized that the unjust loss of life demands mourning and respect, whether it's within their own community or another. So I would say that, here again, we're back to the point of ambition, whether it's intellectual ambition or moral ambition. Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion. And that is why the country--the slim majority of the electorate that did vote and the 40% of the electorate that did not vote, or voting-age public, I should say--settled for the likes of Donald Trump.AK: I wonder what The Dude would do, if he was around, at the victory of Trump, or even at 9/11. He'd probably continue to sit in the bath tub and enjoy...enjoy whatever he does in his bathtub. I mean, he's not a believer. Isn't he the ultimate nihilist? The Dude in Lebowski?DAVID MASCIOTRA: That's an interesting interpretation. I would say that...Is The Dude a nihilist? You have this juxtaposition... The Dude kind of occupies this middle ground between the nihilists who proudly declare they believe in nothing and his friend Walter Sobchak, who's, you know, almost this raving explosion of belief. Yeah, ex-Vietnam veteran who's always confronting people with his beliefs and screaming and demanding they all adhere to his rules. I don't know if The Dude's a nihilist as much as he has a Zen detachment.AK: Right, well, I think what makes The Big Lebowski such a wonderful film, and perhaps so relevant today, is Lebowski, unlike so many Americans is unjudgmental. He's not an angry man. He's incredibly tolerant. He accepts everyone, even when they're beating him up or ripping him off. And he's so, in that sense, different from the America of the 2020s, where everyone is angry and everyone blames someone else for whatever's wrong in their lives.DAVID MASCIOTRA: That's exactly right.AK: Is that liberal or just Zen? I don't know.DAVID MASCIOTRA: Yeah. It's perhaps even libertarian in a sense. But there's a very interesting and important book by Justin Tosi and Brandon Warmke called Why It's Okay to Mind Your Own Business. And in it they argue--they're both political scientists although the one may be a...they may be philosophers...but that aside--they present an argument for why Americans need to do just that. Mind their own business.AK: Which means, yeah, not living politics, which certainly Lebowski is. It's probably the least political movie, Lebowski, I mean, he doesn't have a political bone in his body. Finally, David, there there's so much to talk about here, it's all very interesting. You first came on the show, you had a book out, that came out either earlier this year or last year. Yeah, it was in April of this year, Exurbia Now: The Battleground of American Democracy. And you wrote about the outskirts of suburbia, which you call "exurbia." Jonathan Rauch, wearing his Brookings cap, described this as an ordinary election. I'm not sure how much digging you've done, but did the exurbian vote determine this election? I mean, the election was determined by a few hundred thousand voters in the Midwest. Were these voters mostly on the edge of the suburb? And I'm guessing most of them voted for Trump.DAVID MASCIOTRA: Well, Trump's numbers in exurbia...I've dug around and I've been able to find the exurbian returns for Pennsylvania, North Carolina, and Arizona. So three crucial swing states. If Kamala Harris had won those three states, she would be president. And Trump's support in exurbia was off the charts, as it was in 2020 and 2016, and as I predicted, it would be in 2024. I'm not sure that that would have been sufficient to deliver him the race and certainly not in the fashion that he won. Trump made gains with some groups that surprised people, other groups that didn't surprise people, but he did much better than expected. So unlike, say, in 2016, where we could have definitively and conclusively said Trump won because of a spike in turnout for him in rural America and in exurbia, here, the results are more mixed. But it remains the case that the base most committed to Trump and most fervently loyal to his agenda is rural and exurban.AK: So just outside the cities. And finally, I argued, maybe counterintuitively, that America remains split today as it was before November the 5th, so I'm not convinced that this election is the big deal that some people think it is. But you wrote an interesting piece in Salon back in 2020 arguing that Trump has poisoned American culture, but the toxin was here all along. Of course, there is more, if anything, of that toxin now. So even if Harris had won the election, that toxin was still here. And finally, David, how do we get rid of that toxin? Do we just go to put Bruce Springsteen on and go and watch Big Lebowski? I mean, how do we get beyond this toxin?DAVID MASCIOTRA: I would I would love it if that was the way to do it.AK: We'll sit in our bathtub and wait for the thugs to come along?DAVID MASCIOTRA: Right, exactly. No, what you're asking is, of course, the big question. We need to find a way to resurrect some sense of, I'll use another conservative phrase, civic virtue. And in doing--AK: And resurrection, of course, by definition, is conservative, because you're bringing something back.“Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion.” -DMDAVID MASCIOTRA: Exactly. And we also have to resurrect, offer something more practical, we have to resurrect a sense of civics. One thing on which--I have immense respect and admiration for Jonathan Rauch--one minor quibble I would have with him from your conversation is when he said that the voters rejected the liberal intellectual class and their ideas. Some voters certainly rejected, but some voters were unaware. The lack of civic knowledge in the United States is detrimental to our institutions. I mean, a majority of Americans don't know how many justices are on the Supreme Court. They can't name more than one freedom enumerated in the Bill of Rights. So we need to find a way to make citizenship a vital part of our national identity again. And there are some practical means of doing that in the educational system. Certainly won't happen in the next four years. But to get to the less tangible matter of how to resurrect something like civic virtue and bring back ambition and aspiration in our sense of national identity, along with empathy, is much tougher. I mean, Robert Putnam says it thrives upon community and voluntary associations.AK: Putnam has been on the show, of course.DAVID MASCIOTRA: Yeah. So, I mean, this is a conversation that will develop. I wish I had the answer, and I wish it was just to listen to Born to Run in the bathtub with with a poster of The Dude hanging overhead. But as I said to you before we went on the air, I think that you have a significant insight to learn this conversation because, in many ways, your books were prescient. We certainly live with the cult of the amateur now, more so than when you wrote that book. So, I'd love to hear your ideas.AK: Well, that's very generous of you, David. And next time we appear, you're going to interview me about why the cult of the amateur is so important. So we will see you again soon. But we're going to swap seats. So, David will interview me about the relevance of Cult of the Amateur. Wonderful conversation, David. I've never thought about Lebowski or Francis Fukuyama, particularly Lebowski, in terms of what happened on November 5th. So, very insightful. Thank you, David, and we'll see you again in the not-too-distant future.DAVID MASCIOTRA: Thank you. I'm going to reread Cult of the Amateur to prepare. I may even do it in the bathtub. I look forward to our discussion.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen.His 2024 book, Exurbia Now: Notes from the Battleground of American Democracy, is published by Melville House Books. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove. Masciotra lives in Indiana, and teaches literature and political science courses at the University of St. Francis and Indiana University Northwest. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

** This month's episode is sponsored by Damon Beirne of Post-Transition Media Management Company. Damon can clean up your media files for $300 per terrabyte -- mention Rainbow Rodeo for a 75% discount! **  Flamy Grant is a Christian drag queen. Now, at Rainbow Rodeo, we know to revel in the contradiction of gloriously queer life and traditional expectations, and Flamy certainly embodies that. Her first album Bible Belt Baby hit #1 on the iTunes Christian chart and her new album, CHURCH, which we'll be talking about today, is currently in the top 10 of the iTunes country chart. This is a big deal because iTunes charts are based on purchases, not passive streams — so there are real people propelling these songs up the charts! You can read my album review on No Depression. Subscribe to Rainbow Rodeo on Patreon! Don't miss a queer country beat when you subscribe to our weekly newsletter! Songs Flamy Grant -- "Last Days" (01:59) Flamy Grant -- "SPRKL" (23:06) Flamy Grant -- "Revenge" (39:21) Crys Matthews -- "Waking Up the Dead" (42:51) Click here to advertise in Rainbow Rodeo!

With an orange mustache, golden voice, and cherry red Gibson ES-335, Appalachian Space Funk artist Jeremy Short has quickly risen to the top shelf of must-hear players on the scene.  Having garnered significant recognition for his masterful, yet seemingly effortless guitar playing “Kentucky's Jeremy Short is one of the top 30 blues guitar players in the world. Don't take it from me — take it from the judges at Memphis's International Blues Challenge, where Short semi-finaled in 2016 and 2017. Short is known for his guitar pyrotechnics and commitment to groove” (No Depression). On this special return to the show for Jeremy, we talk about doing things his own way, the art of being a 'guest' musician, finding his unique look, the new EP Live From Healing Appalachia and more. For additional information and tour dates visit www.jeremyshortmusic.com/ _________ This episode is brought to you by Magic Mind. Magic Mind is a “mental performance shot”, an addition to your daily routine, that gets you focused, mentally clear, motivated, and productive while reducing stress, with mushroom nootropics and adaptogens plus over 100% of your daily vitamin C and D per bottle! It is 100% Safe- all ingredients are third-party tested, sourced from the best suppliers You have a limited offer you can use now, that gets you up to 48% off your first subscription or 20% off one time purchases with code JRODCONCERTS20 at checkout You can claim it at: https://www.magicmind.com/JRODCONCERTS20 Learn more about your ad choices. Visit megaphone.fm/adchoices

Lizzie No brings her whole bold, beautiful self to this episode, speaking openly about her process as an artist, life, love, liberation and more. M7 and Lizzie tear up on a few occasions. They also laugh! And immerse themselves in two songs from Lizzie's newest album, Halfsies. Intro (0:00) This episode is sponsored by Strawberries: (0:57) Opening Interview with Lizzie: (6:13) Song #1: (35:32) Song #2: (55:40) One Cool Thing: (1:21:10) Farewell and Links: (1:24:00) Links! Lizzie No Website Patreon Bandcamp Spotify Instagram Facebook We Flew Off The Page Join the Patreon All links Muhammad Seven All links Other Links Lizzie No talking about “Halfsies” on the Basic Folk Podcast episode 250 Lizze No article in No Depression, January 2024 Information on The Abortion Pill from Planned Parenthood “Yellowface” by R.F. Kuang

This week we welcome the self described "ramblin' soul" that is singer-songwriter Melissa Carper, the Austin, TX treasure who's been highly acclaimed by NPR, Rolling Stone, and No Depression. Melissa introduces us to her rescue dog Georgia Peach who is suspected to be about 10 years old and looks to be part Whippet and part Mountain Cur. We also can't have a conversation about dogs without including Betty Boo who was a Black Lab/American Bulldog mix and had a profound impact on Melissa. Melissa's latest album Borned in Ya was released on July 19th and is brimming with her signature blend of jazz, vintage R&B, and old-school country. To order and see tour dates visit melissacarper.com Melissa's shout out goes to the Doris Day Animal Foundation that was founded in 1978 as the Doris Day Pet Foundation by legendary performer, with a straightforward mission that continues to this day:  to help animals and the people who love them.  As a grant-giving charity, DDAF funds other 501(c)(3) organizations across the United States that directly care for and protect animals. To learn more about their programs, scholarships and grants visit dorisdayanimalfoundation.org For more pics and clips from this conversation follow the podcast on Instagram at rockerdogpodcast

We are living in interesting political times. A month ago, the Presidential election appeared over. Today, however, it appears as if it's barely begun. So in my conversation today with the prolific columnist David Masciotra, I asked him if he glimpsed the outlines of a “Harrisist” ideology behind the avalanche of Kamala memes on TikTok. Is the Harris excitement simply a repeat of the Obama mania from 2008, or has something fundamentally changed over the last fifteen years? Then, of course, there's Trump and his weird cult of fake masculinity. What does the wrestling-mania of the Republican party tell us about the fate of young men in 2020's America? And how can progressive patriots like Bruce Springsteen make the American left great again?David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. His new book, Exurbia Now: Notes from the Battleground of American Democracy, was published by Melville House Books in 2024. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

In this episode of the Shoving Wilco podcast, host Todd Rossnagel and co-host Tim Arnold sit down with Peter Blackstock, co-founder of the influential music magazine No Depression. Peter shares his experiences from the early days of the magazine and its deep connections with the alt-country movement that Wilco helped define. From the origins of the No Depression name to the critical role the magazine played in shaping the musical landscape, this conversation is a must-listen for any Wilco fan. Peter reflects on the impact of No Depression as both a magazine and a cultural touchstone, tracing its roots back to the 1990s when Wilco was just beginning to emerge from the shadows of Uncle Tupelo. We talk about everything from the AOL forums that united fans to the evolution of alt-country into a genre that continues to influence musicians today and we dive into the role No Depression played in Wilco's development, exploring how the band's connection to its fans through the magazine and online platforms contributed to its lasting success. Whether you're a longtime Wilco fan or new to the band, this episode offers a rich history of how the band and the magazine grew together. Do you have a show idea, or want to get in touch with the show? Email us: shovingwilco@gmail.com

Believe it or not, Rhiannon Giddens isn't the only black banjo player turning heads in Americana Music. Kaia Kater's first album in six years is out and the likes of Rolling Stone, No Depression and more are giving it glowing marks.  She's not just turning out a unique sound and a very different take on how the banjo plays into new music, but Kater is also chiming in on representation of people of color in bluegrass, country and Americana music. This week on Roots Music Rambler, hosts Francesca Folinazzo (Frank) and Jason Falls (Falls) dig in with her to talk about that, her background growing up in Canada, the culture shock of going to college in West Virginia and collaborating with the likes of Allison Russell, Aoiefe O'Donovan and Taj Mahal on her new record and a lot more.  Falls also shares his experience at Railbird Festival in Lexington, Ky., in June, which included a new worship-like status of Marcus King. They also discuss the list of top 12 all-time grossing live music acts and the lack of intimacy in stadium shows.  Plus, as always, Frank and Falls share their Pickin' the Grinnin' recommendations for music  you should check out. Don't forget you can now show your support of the show with Roots Music Rambler's new merch, now available at rootsmusicrambler.com/store. Authentic t-shirts, hats and stickers are now available.  Buckle up for The Hoe-Down and the Throw-Down! It's a new episode of Roots Music Rambler. Notes and links: Railbird Festival Marcus King on Spotify Dwight Yoakum incident at Railbird Aerial shot of The Red Clay Strays at Railbird 12 highest grossing live music acts of all-time Kaia Kater online Kaia Kater on Spotify Kaia Kater's new album “Strange Medicine” The Roots Music Rambler Store Roots Music Rambler on Instagram Roots Music Rambler on TikTok  Roots Music Rambler on Facebook Jason Falls on Instagram Francesca Folinazzo on Instagram Pickin' the Grinnin' Recommendations Katie Pruitt on Spotify Fiona Apple on Spotify Lilith Fair Ladies of the 90s playlist on Spotify And be sure to get your MuskOx premium flannel shirts just in time for fall. Use the code RAMBLER on checkout for a discount! - https://gomuskox.com/rambler Subscribe to Roots Music Rambler on Spotify, Apple Podcasts, Google Podcasts, GoodPods or wherever you get your podcasts. Theme Music: Sheepskin & Beeswax by Genticorum Learn more about your ad choices. Visit megaphone.fm/adchoices

Jenn speaks to California musician and Kirtan artist Joss Jaffe. Growing up with a yogi mom, Joss was introduced to the world of yogic philosophy, mantras and meditation at a very young age. In 1998 at the age of 17, Joss traveled to India to study classical India and Nepal music. He shares with us how this experience brought many learnings to him in which he incorporates into his music today to spread around the world because sharing music, particularly kirtan music where the audience joins the format of call in response is a very powerful way to connect with our souls. (Recorded on February 27, 2024)About Joss:Joss Jaffe performs as a Vocalist, Tabla player and Multi-Instrumentalist. As a composer and producer he has created innovative albums including Svara Mandala, Echosystem and Dub Mantra to critical acclaim. Joss has collaborated with numerous artists including Grammy Award nominees Jai Uttal, Silvia Nakkach and Dave Stringer as well as Grammy Award winning Reggae artist Mykal Rose of Black Uhuru. No Depression, Vents, Top Shelf, the UK's Om Magazine, Yoga Journal and other prominent publications.Episode Resources: IG / FB / ThesisWebsiteIGFBLive at Yoshi's OaklandLive at Sedona Yoga Festival Performing in Seoul South KoreaAmbient TablaAnimated Music Video by Maureen Kuo (TW)Spotify 

This episode continues the story of the descent of Adam and Hawa to earth. Allah promises to send down guidance for humans to guide them to lead a good life on earth. He promises that those who follow the guidance will not have fear upon them and shall not be grieving.

Collaboration and networking are instrumental in whatever success I enjoyed in my former corporate work life and now in my post career volunteer world.  Nancy LaBerge of Calgary's “Backyard Betties” was introduced to me via email by Linda Wilson, a former radio colleague….giving me the heads up Nancy and her group would be coming to Kansas City for the 2024 Folk Alliance International Conference.  Might there be any broadcast or performance opportunities for the Backyard Betties on the Tasty Brew Music Radio Show?  Of course.  I soon came to know that Nancy, through her affiliation with the Calgary Songsmiths, had already come into my orbit through a songwriting collaboration exercise with our local Heartland Song Network members borne from a prior year's introduction at Folk Alliance. Joining Nancy LaBerge in three-part harmonies are Pip Hazel and Sarah Nielson on percussion with Mark Cassano on guitar.  The Backyard Betties are exceptionally talented with a strong commitment to connecting with their audiences through songs of love, life and loss while fostering the growth of emerging songwriters in their community.  Colin Cutler, an Army Vet, is a Greensboro, North Carolina-based singer-songwriter, folk musician, poet, and storyteller toting a banjo and guitar. Whether solo or with his band, Hot Pepper Jam, he is a wide-ranging performer whose musical roots draw from the breadth of American folk music—from Appalachian oldtime to blues to gospel to country to rock'n'roll—to form what No Depression has described as “one magnificent tapestry of roots music.”. In the course of curating a private showcase for a Folk Alliance International Conference, it becomes quite daunting to make decisions with so very many talented artists making submissions.  Colin Cutler made the decision easier for me to choose him when his bio revealed his latest work “Tarwater” was based upon the work of Georgia author Flannery O'Connor.  That was enough of a hook to send me down the rabbit hole of his background and discography.  Enjoy my conversations with and in studio performance by Backyard Betties and Colin Cutler.

The Georgia Thunderbolts' ascent to becoming heralded as the next torchbearers of Southern rock was far from glamorous. Not long ago, the band found themselves busking at gas stations, stumbling through covers, and traveling hours to Alabama to perform for a sparse audience of a bartender and a three-legged dog.Fast forward to today, and the Rome, Georgia-based quintet has emerged as a critically acclaimed and globally touring band, defying the sophomore slump with their latest release. Comprising Zach Everett on bass, classical guitar, and harmony vocals; Bristol Perry on drums; Logan Tolbert on guitar; and Riley Couzzourt on guitar, the band's music embodies an earthy and emotive aesthetic that draws from various influences, including late 1960s singer-songwriter intimacy, the blues' yearning, the storytelling of country music, and a hearty dose of arena-ready classic hard rock.Riley shares, "I grew up immersed in music, with my dad's love for 1980s rock and my grandma's affinity for classic country. As soon as TJ starts singing, you can hear the Southern roots in our sound."Despite releasing their debut album, 'Can We Get A Witness,' smack in the middle of a pandemic, the band garnered over 6 million streams across digital platforms and earned critical acclaim from esteemed publications like No Depression, Rolling Stone, Classic Rock, and American Songwriter.Emerging from lockdown, the band wasted no time, sharing stages with rock legends like Black Stone Cherry, Deep Purple, and The Marshall Tucker Band, among others. One of the most transformative experiences for the band was touring Europe with Black Stone Cherry in 2022, where they played historical theaters and witnessed their music resonate with audiences overseas.Reflecting on the journey, TJ remarks, "Playing in Europe was surreal. Hearing fans sing our songs back to us felt like a dream come true. It's a far cry from our early days."The band's growth and evolution over the past few years are evident in their latest album, 'Rise Above It All,' a 13-song collection that marks a new chapter in their career.For more information on The Georgia Thunderbolts, including tour dates and updates on their upcoming album, visit georgiathunderbolts.com.Support the Show.Thanks for listening for more information or to listen to other podcasts or watch YouTube videos click on this link >https://thetroutshow.com/

Nicole talks about the difference between creation and nervous activity and how hard it is to distinguish between the two. We also talk about procrastination, Elvis Costello, the need to let ideas simmer, collaborating on a show, making an album, the meaning of music, the tricks to productivity, and the joy of baby steps. Bio: For two decades, Nicole Atkins has created her own brand of spectral American rock & roll. She's an old-school torch singer for the modern world, funneling her award-winning songwriting chops and genre-spanning influences — including psychedelic rock, Muscle Shoals soul, the pop grandeur of Roy Orbison, and the dark drama of Nick Cave — into six albums that have earned a global audience. Regularly featured on year-end "best of" lists by Rolling Stone, NPR, and The New York Times, Atkins has collaborated with artists from across the musical spectrum, including David Byrne, Chris Isaak, Spoon, Elvis Costello, Tommy Stinson, and the Old 97's. The title track of her major-label debut album won The ASCAP Foundation Sammy Cahn Award, and her songs have appeared in prime-time TV shows like Dexter, national ad campaigns for American Express, and on the Billboard charts, with tracks like "Domino" becoming Top 40 AAA hits. A road warrior who has performed everywhere from Carnegie Hall to Late Night With David Letterman, Atkins is also a professional illustrator and painter whose work has appeared in The Wall Street Journal and No Depression.

Emily Scott Robinson is one of my favorite people on the planet. Hands down. She's a storyteller's storyteller. A deep heart. A witchy woman. And, a giver. With a quarter million miles under her belt and counting, she travels the dusty highways of America's wild country, capturing the stories of the people she meets and expertly crafting them into songs. Robinson received critical acclaim for her debut album Traveling Mercies-- Rolling Stone named it one of the “40 Best Country and Americana Albums of 2019.” In 2021, Robinson signed with Oh Boy records, the label founded by the legendary John Prine, and released her follow-up album American Siren. It made numerous “Best of 2021” lists including NPR, Rolling Stone, American Songwriter, and No Depression. In 2022, Robinson released a collaboration for theater called Built on Bones, a song cycle written for the Witches of Shakespeare's Macbeth, featuring artists Alisa Amador and Violet Bell. Check out more on ESR here: https://www.emilyscottrobinson.com/

This week, host Jason Jefferies is joined by award-winning writer and documentary filmmaker Georgann Eubanks, who discusses Song Keepers: A Music Maker Foundation Anthology, which is co-published by our friends at No Depression and the Music Maker Foundation.  Topics of discussion include working with non-profits, the Emmys, SoLaTiDo, Music Maker Foundation, the world's happiest bluesman, Jimi Hendrix, writing in North Carolina, and much more.  Copies of Song Keepers can be ordered from Page 158 Books and the No Depression website.  

Kim Richey in conversation with David Eastaugh https://kimrichey.com/news/ Over the past two decades Kim has released ten critically acclaimed albums, been listed in the ‘Top 10 Albums of 1999' in Time Magazine for her album Glimmer, plus received 4-stars in Rolling Stone and named ‘Alt-Country Album of the Year' in People Magazine for her album Rise. Her 2013 release Thorn In My Heart was named in year's end best lists by No Depression, The Boston Globe and The Associated Press. She has written two #1 singles and had four others hit Top 10. Her songs have been recorded by Trisha Yearwood, Mary Chapin Capenter, James Morrison, Brooks and Dunn and many others. She has contributed backing vocals on albums by Trisha Yearwood, Ryan Adams, Shawn Colvin and Jason Isbell to name a few.

According to David Masciotra, the real battleground for the future of American democracy lies in that no-man's land between suburban and rural America - what he calls the “exurb”. It's here, Masciotra argues in his new book EXURBIA NOW, that we can find the pathologies of a 21st century American totalitarianism. The America that Masciotra finds in these outer suburbs is the antithesis of Tocqueville's small town America - a fragmented, alienating place without public space or communal interaction. What Masciotra uncovers is Marjorie Taylor Greene's America and this grey often overlooked zone between suburb and countryside, he suggests is the Gettysburg of American democracy, the battleground which will determine the fate of the Republic in the 2020's and beyond.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. His next book, Exurbia Now: Notes from the Battleground of American Democracy, is scheduled for publication from Melville House Books in 2024. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove.Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Episode 468 features an interview with Acclaimed Americana Band 'Driftwood' whose new record December Last Call, which finds the band returning to their Upstate New York roots for a reflective album showcasing the evolution of the band – both as musicians and close friends – over their 15-year career Already garnering praise from No Depression, Holler, Glide Magazine, the Americana Music Association and others, December Last Call also looks confidently towards the future, experimenting with new sounds like hard-rocking guitars and driving percussion, all while staying true to the bluegrass roots that have earned Driftwood a loyal following for more than a decade. Topics discussed included the two-year process to finish this album, creativity during parenthood, the genesis of the band, and more. 

On today's show, singer-songwriter Griffin House discusses what it's like for him juggling his music life and family life, weighs-in on what the role of a musician is in these tumultuous times and performs live acoustic versions of a couple of songs ("Dead Set on You" and "Lifeline") from his latest release “The Tides” - a five song EP recorded with Grammy Award-winning producer Jacquire King. GUEST OVERVIEW: Griffin House is an American singer-songwriter and storyteller. Touring and making records for over 20 years, House has a discography that includes over 13 albums. His debut record “Lost and Found” (2004) was featured on CBS Sunday Morning by music critic and then VP of MTV/VH1, Bill Flanagan, who named House one of the best emerging singer-songwriters of our time. After forging a loyal fan base through years of grassroots touring as an opener for acts such as John Mellencamp and the Cranberries, House broke through as a national headliner in 2009 with an appearance on Late Night with Craig Ferguson and the release of his underground hit “The Guy That Says Goodbye to You is Out of His Mind.” House's music has been featured on prime-time television shows such One Tree Hill, Rescue Me, Party of Five, and Everwood, and reviewed in magazines such as Paste, No Depression and Rolling Stone. https://griffinhousemusic.com/

Ahhh, vinyl records. For audiophiles and other assorted music nerds (know any of them!?!), it's the passport to sonic bliss. For others, it's an archaic, delicate, noisy and inconvenient medium. Whatever side of the fence you're on, there are albums that you gotta experience on vinyl - whether it be for the sound quality, the artwork, the liner notes, the overall presentation, or maybe it's not available digitally. Remarkably, decades after the format was declared all but dead and buried, it has experienced a huge resurgence in popularity. To commemorate the 75th anniversary of the commercial vinyl LP, In The Groove: The Vinyl Record and Turntable Revolution from Motorbooks is an authoritative and visual celebration of the history and culture of record collecting and turntables, from the first 78 to the explosive growth of vinyl in the last decade, with entertaining sidebars highlighting classic record stores, legendary labels and iconic artwork. Designed to satisfy readers from the most discerning of collectors to those new to the passion, In The Groove gathers five of the finest music scribes to contribute a chapter each. One of those writers (covering record stores) is our Third Lad this week, Gillian Gaar. Gillian G. Gaar is a Seattle-based author. Her first book, She's A Rebel: The History of Women in Rock & Roll was published in 1992. In addition to her own books, she has appeared in various anthologies, including The Nirvana Companion, Trouble Girls: The Rolling Stone Guide to Women in Rock, Nirvana: The Complete Illustrated History, Leonard Cohen on Leonard Cohen: Interviews and Encounters, Goldmine: The Beatles Digest (volumes one and two), The Best of the Beatles Book, The Stranger Guide To Seattle, 33 1/3 Greatest Hits Vol 2, A Survey of American Culture, and various editions of The Scribner Encyclopedia of American Lives, among others. She was editorial assistant for Krist Novoselic's book From Grunge To Government: Let's Fix This Broken Democracy! She was also a project consultant/liner note writer for Nirvana's box set "With The Lights Out." She has written for numerous magazines, including Rolling Stone, Mojo, Q, Goldmine, The Seattle Times, The Stranger, Option, and No Depression, and was a senior editor at Seattle music paper The Rocket. She has also written liner notes for collections by Laurie Anderson, Judy Collins, Heart, Pat Benatar, Paula Cole and Mat Kearney, among others. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ahhh, vinyl records. For audiophiles and other assorted music nerds (know any of them!?!), it's the passport to sonic bliss. For others, it's an archaic, delicate, noisy and inconvenient medium. Whatever side of the fence you're on, there are albums that you gotta experience on vinyl - whether it be for the sound quality, the artwork, the liner notes, the overall presentation, or maybe it's not available digitally. Remarkably, decades after the format was declared all but dead and buried, it has experienced a huge resurgence in popularity. To commemorate the 75th anniversary of the commercial vinyl LP, In The Groove: The Vinyl Record and Turntable Revolution from Motorbooks is an authoritative and visual celebration of the history and culture of record collecting and turntables, from the first 78 to the explosive growth of vinyl in the last decade, with entertaining sidebars highlighting classic record stores, legendary labels and iconic artwork. Designed to satisfy readers from the most discerning of collectors to those new to the passion, In The Groove gathers five of the finest music scribes to contribute a chapter each. One of those writers (covering record stores) is our Third Lad this week, Gillian Gaar. Gillian G. Gaar is a Seattle-based author. Her first book, She's A Rebel: The History of Women in Rock & Roll was published in 1992. In addition to her own books, she has appeared in various anthologies, including The Nirvana Companion, Trouble Girls: The Rolling Stone Guide to Women in Rock, Nirvana: The Complete Illustrated History, Leonard Cohen on Leonard Cohen: Interviews and Encounters, Goldmine: The Beatles Digest (volumes one and two), The Best of the Beatles Book, The Stranger Guide To Seattle, 33 1/3 Greatest Hits Vol 2, A Survey of American Culture, and various editions of The Scribner Encyclopedia of American Lives, among others. She was editorial assistant for Krist Novoselic's book From Grunge To Government: Let's Fix This Broken Democracy! She was also a project consultant/liner note writer for Nirvana's box set "With The Lights Out." She has written for numerous magazines, including Rolling Stone, Mojo, Q, Goldmine, The Seattle Times, The Stranger, Option, and No Depression, and was a senior editor at Seattle music paper The Rocket. She has also written liner notes for collections by Laurie Anderson, Judy Collins, Heart, Pat Benatar, Paula Cole and Mat Kearney, among others. Learn more about your ad choices. Visit megaphone.fm/adchoices

David McPherson is a Waterloo, Ontario-based author, freelance writer, and communications consultant. Ever since attending his first rock concert in 1989 (The Who) and buying his first LP (Freeze Frame by The J. Geils Band), music has become “the elixir of his life.” With more than 18,000 songs on my iPod, and an ever-growing vintage vinyl collection, it's a joy to discover new music; he loves sharing these discoveries with his wife and two children. After watching his first show [The Old 97s] at the Horseshoe Tavern more than twenty years ago, he was in love with this iconic venue. David's first book: The Legendary Horseshoe Tavern: A Complete History chronicled the history of this Toronto institution; it was published in 2017. Since, he has published two more books: Massey Hall (2021) and 101 Fascinating Canadian Music Facts (2023).  A regular contributor to Words + Music, GRAMMY.com and the Globe & Mail, over the years, his writing has appeared in countless publications including: Zoomer!, Sharp, No Depression, Paste, American Songwriter, Bluegrass Unlimited, Exclaim! and Canadian Musician. As president and chief creative officer of McPherson Communications, David helps clients get the words right. Clients, past and present, include: Osler Bluff Ski Club, the University of Waterloo, Westmount Golf & Country Club and TELUS International. Website: https://davidmcpherson.caInstagram: https://www.instagram.com/mcphersoncomm/ Buy the book: https://www.dundurn.com/books_/t22117/a9781459751583-101-fascinating-canadian-music-facts This episode is brought to you byGo to BETTERHELP.com/apologue for confidential online counselling.use the code word Apologue for a 7 day free trial Pledge monthly with Patreon https://www.patreon.com/apologueShop Apologue products at http://apologue.ca/shop Go get the 1 hour mini Documentary on Lowest of the Low's Classic Album Shakespeare my Butt at https://thelowdoc.gumroad.com/l/SMB

When was the last time you picked up a book or a magazine instead of going to your smart phone or computer to read about music? I admit that, like so many of us these days, my first instinct is to scroll through social media or look at websites. The rise of digital media along with the ubiquity of smart phones has been nothing short of dramatic; the subsequent decline of print and other physical media is also impossible to ignore. Roots music journal No Depression, like so many others, went out of print in the midst of that sea change, although it continued online. Eventually it would reemerge, however, with new ownership and a new format as a quarterly publication, while offering a website covering music news as well as articles, columns and reviews. In an era where the expense of printing a magazine is more and more impossible to recoup, No Depression has managed to do just that. It remains as one of only a handful of music publications, and that is remarkable by itself. This is just part of our story here, though, as we welcome Assistant Editor and nodepression.com director Stacy Chandler to this episode of Southern Songs and Stories. Stacy spoke with me at the end of September, 2023 in Raleigh, North Carolina during the International Bluegrass Music Association's yearly event. Comprised of a wide ranging music industry conference as well as a music festival, the IBMAs, as it is often called, feature music panels geared towards music artists and professionals, showcase events where attendees can get introduced to new artists, and even Tai Chi classes courtesy of Jim Lauderdale. I was not up at 8 a.m. to take Jim's classes, but I did take in as much as I could in the whirlwind week of all things bluegrass, including this conversation with Stacy Chandler as well as bluegrass legend Pete Wernick, and both Steve Mougin and Ben Wright, who will be featured in upcoming episodes here. Stacy Chandler of No Depression interviewed at the IBMA conference 09-30-23 In this episode, we touch on the history of No Depression as well as some of the artists and articles in its current issue, plus we share takeaways from this year's IBMAs while we examine the bigger picture of bluegrass music in 2023. It is a far ranging conversation which focuses on one of the biggest weeks of the year for the genre, the ways bluegrass has changed over the decades, as well as the parallel story of print journalism in the age of smart phones. Songs heard in this episode:“No Depression In Heaven” by The Carter Family“Thirsty” by Mipso, from Book Of Fools, excerpt“Slipknot > Casey Jones” by The Waybacks & Friends, from One Way Or Another, excerpt“Listen To The Radio” by Billy Strings and Molly Tuttle, from More Than A Whisper: Celebrating the Music of Nanci GriffithThank you for visiting us and giving this podcast a listen! This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes on Bluegrass Planet Radio here. Thanks to everyone at the International Bluegrass Music Association for making this episode possible, and to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, and to Joshua Meng, who wrote and performed out theme songs.This is Southern Songs and Stories: the music of the South and the artists who make it. - Joe Kendrick

Take charge of your mental health and recognize the difference between feeling "down" and clinical depression.....This episode brings to light a topic that is often overlooked - mental health among the elderly, with our highly esteemed guest, Amanda Marker. She's not just the director of business development for Windmoor Healthcare, but also a licensed mental health counselor. While age is just a number, it seems the world often forgets that. We examine the  darker side of ageism, observing how it can lead to depression, isolation, and increased suicide risk. To end on a positive note, we explore the steps to improve mental health in seniors.  As the holiday season approaches, we also address the deep-seated stigma surrounding mental health and how to manage it. SeniorLivingGuide.com Podcast sponsored by TransMed Care Long Distance Medical TransportationThe background music is written, performed and produced exclusively by purple-planet.com.https://www.purple-planet.com/*SeniorLivingGuide.com Webinars and Podcast represents the opinions and expertise of our guests. The content here is for informational and educational purposes. It does not necessarily represent the views, recommendations, opinions or advice of Fairfax Publishing/SeniorLivingGuide.com or its employees

Howdy, cowpokes, and welcome back to Rainbow Rodeo! This month, I interview artist and podcaster extraordinaire, Jenny Owen Youngs. I think you can hear in the interview that I'm a little bit starstruck, but of course Jenny was a pro. (We're on a first-name basis now.)   We talk about her return to solo music with her new album, Avalanche, and how it's been to work in the co-writing and music licensing space in LA for so long. We also get a little silly with fandoms, but also get down to business to discuss queer artists and the anxiety around pigeonholing, and idea that's been on my mind a lot lately.   Read my review of Avalanche on No Depression. Subscribe to the Rainbow Rodeo Patreon here and subscribe to our weekly newsletter here!   Music Time Stamps: Jenny Owen Youngs -- "Everglades" (1:58) Jenny Owen Youngs -- "Knife Went In" (11:49) Jenny Owen Youngs -- "Set It On Fire" (38:17) Trixie Mattel (ft. Orville Peck) -- "Jackson" (42:08) Jobi Riccio -- "Whiplash" (44:45)  

The iconic Black rock band Living Colour's Time's Up, released in 1990, was recorded in the aftermath of the spectacular critical and commercial success of their debut record Vivid. Time's Up is a musical and lyrical triumph, incorporating distinct forms and styles of music and featuring inspired collaborations with artists as varied as Little Richard, Queen Latifah, Maceo Parker, and Mick Jagger. The clash of sounds and styles don't immediately fit. The confrontational hardcore-thrash metal - complete with Glover's apocalyptic wail - in the title track is not a natural companion with Doug E. Fresh's human beat box on "Tag Team Partners," but it's precisely this bold and brilliant collision that creates the barely-controlled chaos. And isn't rock & roll about chaos? Living Colour's sophomore effort holds great relevance in light of its forward-thinking politics and lyrical engagement with racism, classism, police brutality, and other social and political issues of great importance. In Living Colour's Time's Up (Bloomsbury, 2023),  Kimberly Mack explores the creation and reception of this artistically challenging album, while examining the legacy of this culturally important and groundbreaking American rock band. Kimberly Mack is the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (2020), which won the 2021 College English Association of Ohio's Nancy Dasher Award. She is also a music critic and memoirist who has written for publications including Longreads, Music Connection, No Depression, Relix, PopMatters, and Hot Press. Kimberly Mack on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The iconic Black rock band Living Colour's Time's Up, released in 1990, was recorded in the aftermath of the spectacular critical and commercial success of their debut record Vivid. Time's Up is a musical and lyrical triumph, incorporating distinct forms and styles of music and featuring inspired collaborations with artists as varied as Little Richard, Queen Latifah, Maceo Parker, and Mick Jagger. The clash of sounds and styles don't immediately fit. The confrontational hardcore-thrash metal - complete with Glover's apocalyptic wail - in the title track is not a natural companion with Doug E. Fresh's human beat box on "Tag Team Partners," but it's precisely this bold and brilliant collision that creates the barely-controlled chaos. And isn't rock & roll about chaos? Living Colour's sophomore effort holds great relevance in light of its forward-thinking politics and lyrical engagement with racism, classism, police brutality, and other social and political issues of great importance. In Living Colour's Time's Up (Bloomsbury, 2023),  Kimberly Mack explores the creation and reception of this artistically challenging album, while examining the legacy of this culturally important and groundbreaking American rock band. Kimberly Mack is the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (2020), which won the 2021 College English Association of Ohio's Nancy Dasher Award. She is also a music critic and memoirist who has written for publications including Longreads, Music Connection, No Depression, Relix, PopMatters, and Hot Press. Kimberly Mack on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The iconic Black rock band Living Colour's Time's Up, released in 1990, was recorded in the aftermath of the spectacular critical and commercial success of their debut record Vivid. Time's Up is a musical and lyrical triumph, incorporating distinct forms and styles of music and featuring inspired collaborations with artists as varied as Little Richard, Queen Latifah, Maceo Parker, and Mick Jagger. The clash of sounds and styles don't immediately fit. The confrontational hardcore-thrash metal - complete with Glover's apocalyptic wail - in the title track is not a natural companion with Doug E. Fresh's human beat box on "Tag Team Partners," but it's precisely this bold and brilliant collision that creates the barely-controlled chaos. And isn't rock & roll about chaos? Living Colour's sophomore effort holds great relevance in light of its forward-thinking politics and lyrical engagement with racism, classism, police brutality, and other social and political issues of great importance. In Living Colour's Time's Up (Bloomsbury, 2023),  Kimberly Mack explores the creation and reception of this artistically challenging album, while examining the legacy of this culturally important and groundbreaking American rock band. Kimberly Mack is the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (2020), which won the 2021 College English Association of Ohio's Nancy Dasher Award. She is also a music critic and memoirist who has written for publications including Longreads, Music Connection, No Depression, Relix, PopMatters, and Hot Press. Kimberly Mack on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The iconic Black rock band Living Colour's Time's Up, released in 1990, was recorded in the aftermath of the spectacular critical and commercial success of their debut record Vivid. Time's Up is a musical and lyrical triumph, incorporating distinct forms and styles of music and featuring inspired collaborations with artists as varied as Little Richard, Queen Latifah, Maceo Parker, and Mick Jagger. The clash of sounds and styles don't immediately fit. The confrontational hardcore-thrash metal - complete with Glover's apocalyptic wail - in the title track is not a natural companion with Doug E. Fresh's human beat box on "Tag Team Partners," but it's precisely this bold and brilliant collision that creates the barely-controlled chaos. And isn't rock & roll about chaos? Living Colour's sophomore effort holds great relevance in light of its forward-thinking politics and lyrical engagement with racism, classism, police brutality, and other social and political issues of great importance. In Living Colour's Time's Up (Bloomsbury, 2023), Kimberly Mack explores the creation and reception of this artistically challenging album, while examining the legacy of this culturally important and groundbreaking American rock band. Kimberly Mack is the author of Fictional Blues: Narrative Self-Invention from Bessie Smith to Jack White (2020), which won the 2021 College English Association of Ohio's Nancy Dasher Award. She is also a music critic and memoirist who has written for publications including Longreads, Music Connection, No Depression, Relix, PopMatters, and Hot Press. Kimberly Mack on Twitter. Bradley Morgan is a media arts professional in Chicago and author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships on behalf of CHIRP Radio 107.1 FM, serves as a co-chair of the associate board at the Gene Siskel Film Center of the School of the Art Institute of Chicago, and volunteers in the music archive at the Old Town School of Folk Music. Bradley Morgan on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Hailing from the foothills of the North Georgia Appalachian Mountains, Charlsey Etheridge's roots in Americana Music run deep. There she learned to sing harmony around her grandmother's piano after church on Sundays and taught herself guitar chords from her mother's old Emmylou Harris songbook. She wrote her first song at the young age of 7 while riding through the woods in her step-father's old army jeep. After moving to Nashville in 2003, Charlsey was immersed into the Nashville songwriting culture, working alongside such music industry veterans as Harley Allen and Steve Wariner. “Even though Harley is no longer with us, I am often reminded of an invaluable piece of advice he left me,” Etheridge reflects. “He said, ‘just remember... fame will come and go... but you can ALWAYS write.' As a young 23 year old, I didn't think much of that statement at the time, but through the years, his words resonate with me more and more.” In 2013, Etheridge released her first full-length studio album, appropriately titled, Memories of Mine. The critically acclaimed record intimately paid homage to the sounds of her youth, exploring the Bluegrass, Gospel, and old Folk songs her grandmother used to sing to her. Memories received stellar reviews in such bluegrass and roots music publications as No Depression and The Bluegrass Situation. The 2013 album set the stage for Charlsey's future success in Americana and Roots music. In 2021, Etheridge collaborated with legendary guitarist Jack Pearson (of Allmon Brothers Band fame) to release a previously recorded, newly mastered five-song EP, An Acoustic Christmas with Charlsey and Jack. The holiday album blends Jack's lyrical musicality and lightning-precise fingerwork and with Charlsey's butter-smooth voice in a not-to-be-forgotten compilation of holiday favorites. Now, nearly 8 years after her first studio album, Charlsey is releasing a compilation of original music, entitled Scars of Mine. She has joined forces with MuzikMafia veteran, Jerry Navarro (Big & Rich, Gretchen Wilson), who is also the founder of the new Indy label, The Frequency Spot (of which Etheridge is also an active artist). Joining Charlsey in this collaboration are band members Marcus Finnie (Lady A, Keb Mo, Taj Mahal), Walt Scott, Chris Walters (Barbara Mandrell), and Pat Bergeson (Suzy Bogguss, Lyle Lovett, Chet Atkins). The project is co-produced by sought after guitarist and musician, Pat Bergeson. Scars of Mine is slated for release in 2023. www.charlseyetheridge.com © 2023 Lotta Dogs Productions LLC Showrunner and Executive Producer Emeritus: Tom Sabella Producer and Host (the guy who has a face for podcasting): Bob Bender Management Representation: Chuck Thompson for Thompson Entertainment Group, LLC Co-Producer - Audio/Video Editor (the man behind the curtain): Mark Sabella Director of Video and Continuity (the brains of the entire operation): Deborah Halle Marketing and Social Media (all knowing): Sarah Fleshner for 362 Entertainment All Around Problem Solver (and Mental Health Therapist for us): Connie Ribas Recorded inside what could be an old beat up Airstream Trailer located somewhere on what's left of Music Row in Nashville TN (Man we sure do miss Noshville, and the Longhorn Steakhouse) Mixed and Mastered at Music Dog Studios in Nashville, TN Editing and Post at Midnight Express Studio located in Olian, NY Production Sound Design: Keith Stark Voice Over and Promo: Lisa Fuson Special Thanks to the creator and founder of the podcast, Tom Sabella, along with Traci Snow for producing and hosting over 100 episodes of the original "Business Side of Music" podcast and trusting us to carry on their legacy. Website: If you would like to be a guest on the show, please submit a request to: musicpodcast@mail.com If you're interested in becoming a sponsor for the show, let us know and we'll send you a media / sponsorship kit to you. Contact us at musicpodcast@mail.com The views, thoughts, and opinions expressed on this show provided by the guest(s), are those of the guest(s) own, and do not necessarily represent the views, thoughts, and opinions of the host or producers of this podcast. The material and information presented here is for general information purposes only. The Business Side of Music's name and all forms and abbreviations are the property of its owner (Lotta Dogs Productions LLC), and its use does not imply endorsement of or opposition to any specific organization, product, or service. Copyright © 2023 Lotta Dogs Productions, LLC, All rights reserved.  

Energetic magnetism, a 1909 prairie house, and train showers. Cornelia Murr “Cornelia Murr was born in London and resides in California as a dual citizen, but spent much of her childhood moving through the United States, from Colorado to Massachusetts, California to New York City and upstate New York. Working with producer Jim James of My Morning Jacket on her 2018 debut album Lake Tear of the Clouds, Murr conjured a hazy blend of folk and cosmic soul music, bringing to mind the fantasias of Broadcast, Stereolab's most pastoral moments, and the spooky romance of Beach House. She released the single “Hang Yr Hat” in 2021, inspired in part by the art of mime and the legendary Marcel Marceau, followed by the EP Corridor in November 2022, which No Depression describes “is as much an exploration of sparkling pop as it is a deeply felt mediation on the ache of being alive.” She has toured with such contemporaries as Rodrigo Amarante, Lucius, Michael Nau, and Dana Gavanski." Excerpt from https://www.corneliamurr.com Cornelia Murr: Bandcamp: https://corneliamurr.bandcamp.com/album/corridor Instagram: @corneliamurr Website: https://www.corneliamurr.com . Merch: https://www.corneliamurr.com/merch. Records: https://www.fulltimehobby.co.uk/release/cornelia-murr/corridor-ep The Vineyard: Instagram: @thevineyardpodcast Website: https://www.thevineyardpodcast.com Youtube: https://www.youtube.com/channel/UCSn17dSz8kST_j_EH00O4MQ/videos

How do we share our art with the world? In this episode of Emerging Form, singer/songwriter and incredible performer Emily Scott Robinson talks about the creativity of connecting. How do we help our audience feel seen? How can “mistakes” create bonding? How do we change energy that feels “off”? How do you make the same material feel fresh for yourself time after time? It's a practical, heart-opening episode full of laughter. With a quarter million miles under her belt and counting, North Carolina native Emily Scott Robinson travels the dusty highways of America's wild country, capturing the stories of the people she meets and expertly crafting them into songs. Robinson received critical acclaim for her debut album Traveling Mercies. Rolling Stone named it one of the “40 Best Country and Americana Albums of 2019.” In 2021, Robinson signed with Oh Boy records, the label founded by the legendary John Prine, and released her follow-up album American Siren. It made numerous “Best of 2021” lists including NPR, Rolling Stone, American Songwriter, and No Depression. In 2022, Robinson released a collaboration for theater called Built on Bones, a song cycle written for the Witches of Shakespeare's Macbeth, featuring artists Alisa Amador and Violet Bell.Emily Scott Robinson WebsiteEmily's Instagram Emily's musicBuilt on Bones This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit emergingform.substack.com/subscribe

Sarah Rudy is a guitarist/singer/songwriter with a talent for catchy, evocative melodies and beautiful guitar tones. She and her band, Hello June, have been praised by NPR, No Depression, Paste Magazine, World Cafe, and many others. They have have a new album coming out this year that will be their first full length album since 2018's self titled Hello June was released. I had fun talking gear, tones, and songwriting with Sarah and hope you'll enjoy as well!   Support the show at: https://www.patreon.com/40wattpodcast/​Find guitar lessons on TrueFire (remember to use code 40WATT): https://bit.ly/3t0v1ZdFind Sarah and Hello June on:Instagram: https://www.instagram.com/hellojuneband/Spotify: https://spoti.fi/3nvHEvcInternet: https://www.wearehellojune.com/YouTube: https://www.youtube.com/@HelloJuneMusicFind all of the podcast links at:https://www.linktr.ee/40wattpodcasthttps://www.40wattpodcast.com/40 Watt Merchandise: https://40-watt-merch.creator-spring.com/Reverb Affiliate link: https://reverb.grsm.io/phillipcarter5480StringJoy Affiliate link: https://stringjoy.com/partner/fortywatt/Subscribe to the channel and give a like – also find us in audio format wherever you listen to podcasts and leave us a review and share us with your friends.In My Life. Artists On The Record.All the best bits from major interviews major artists have done - an audio autobiography!Listen on: Apple Podcasts SpotifySupport the show

During the pandemic two friends, Andy Gish and our Episode 8 guest, Kim Ware, created the Kimono My House Facebook page for musicians to have a platform to perform during quarantine. Tom thought up an idea of a show on KMH which would include sets by Blake Rainey, Lars Nagel and himself. Dubbed THE BLT show, it quickly became a regular weekly thing with incredible rotating musicians from all over the country. As quarantine slowly and safely let up and venues reopened, that same community of musicians and music lovers began playing shows together in person.  A few weeks ago, at the Star Community Bar, a fantastic lineup met for BLT Fest 2 (you may remember BLT Fest 1 at Waller's where we had a wonderful conversation with our Episode 39 guest, Daniel Gay from Worcester, Massachusetts) and we again took the opportunity to sit down with a couple guests from out of state to discuss their record picks. First up is our friend, Vic Burgess, aka Chattanooga Vic, from, you guessed it, Chattanooga Tennessee. Vic gave us several great record choices and we settled on the fantastic No Depression by Uncle Tupelo, which inspired the creation of the alt-country periodical of the same name and helped define a genre. Here's what Vic had to say about the experience: "A great quality about music, and art in general, is how perspectives can change when discussed and evaluated by a group of friends. One outside observation can turn a song or a whole album on its head. Discussing this album with my friends who had different takes on it opened my mind up to different angles that I hadn't thought of before." - Vic Burgess  We couldn't agree more, Vic! We're so excited to have finally had Vic on as a guest and to share the awesome conversation we had about this iconic record which kicked off the legacies of Wilco and Sun Volt, took inspiration from both punk and country, then blended them together so seamlessly the album title is sometimes used as a synonym for the entire alternative country genre. No Depression by Uncle Tupelo is a true gem and if you haven't heard it yet you should definitely put that on your list. James couldn't be at the Star Bar the Sunday of the BLT Fest but he will be back for Episode 56. Be sure to check out Vic's band, The ExLaws, and some of his solo work at the links below. Cheers! – Cassy https://www.facebook.com/TheExLaws/ https://distrokid.com/hyperfollow/vicburgess/a-fool-and-his-money-will-soon-party

It would be very easy to think that rap and hip hop have little if anything in common with music like bluegrass and old time. After all, we have been led to believe that these styles of music come from cultures on opposite sides of the musical spectrum. How could the two have any common ground? Actually, they have many more connections than you might imagine. This connection is embodied in groups like Gangstagrass and in recent work by Jake Blount, and as members of Gangstagrass point out in our conversation here, rap and folk music both stem from the same instincts. At its heart, this is about a musical path that diverged centuries ago, or at least seemed to.In this episode we speak with Dolio the Sleuth, Rench the Mastermind and B.E. Farrow of Gangstagrass, as well as Dan Tyminski, who performed with them last fall, and we welcome Dr. Jordan Laney of Virginia Tech and the Virginia Rural Health Association, and author, podcaster and former editor at No Depression and Folk Alley, Kim Ruehl, as we unravel a story that began centuries ago, but has only recently reached a pivotal chapter in its history. Gangstagrass Songs heard in this episode:“Floo-id” by Turbo Pro Project, from Daydream, excerpt“The Downward Road” featuring Demeanor, by Jake Blount, from The New Faith, excerpt“Ride With You” by Gangstagrass, from No Time For Enemies, excerpt“Talking Columbia” by Woody Guthrie, from Hard Travelin': The Asch Recordings, Vol. 3, excerpt“Nickel and Dime Blues” by Gangstagrass, from No Time For EnemiesWe are glad you came by, and are even more grateful whenever you share this with someone. Please follow us on your podcast platform of choice, and then it will only take a minute to give it a good rating and, where it is an option, a review. Great ratings, and reviews especially, will make Southern Songs and Stories and the artists it profiles more likely to be found by more people just like you. This series is a part of the lineup of both public radio WNCW and Osiris Media, with all of the Osiris shows available here. You can also hear new episodes of this podcast on Bluegrass Planet Radio here. Thanks to Corrie Askew for producing the radio adaptations of this series on public radio WNCW, where we worked with Joshua Meng who wrote and performed our theme songs. Thanks also to our guests, and we encourage you to check out their work. You can find more about Kim Ruehl on her podcast Why We Write, and soon you can hear Jordan Laney's podcast The Bessie Lee Society. This is Southern Songs and Stories: the music of the South and the artists who make it. — Joe Kendrick

I interviewed Canadian alt-country singer Mariel Buckley back in August. And you can tell this was a few months ago because we talked a little baseball -- little did we know how badly the Blue Jays would implode.   Buckley's album Everywhere I Used To Be is a distinct departure from Buckley's acclaimed Driving in the Dark. The sound is more spare, more melancholy. We dig into that as well as Mariel's experiences with extended vocal rest, gender identity, and growing up queer in a small town. Since we mention it, you can read my review of the album in No Depression here.   Support queer media and subscribe to our Patreon!   Keep up with Rainbow Rodeo with our free weekly newsletter!

My guest in this episode is Michael Elliott a DJ, radio exec, writer and a man who has overcome a lot of adversity to get to a better place today.He lives in Raleigh NC and is a southerner born and bred with all the challenges and contradictions that brings. An only child he was born with cataracts in both eyes and was partially blind until the age of 50. He grew up surrounded by a music loving family and imagination and creativity were his best friends. He developed an interest in radio at an early age and used to sit in on the morning show at his local station which led to a career of almost 30 years in radio, spanning being a live DJ through to senior management. In 2012, after long term challenges with alcohol he found sobriety which continues to this day despite several subsequent life changing challenges.During this period, he also met the love of his life Liz who he is now happily married to. Liz encouraged him to pursue his passion for music and writing and he is now a contributor to the pioneering roots music authority No Depression and his writing has also appeared in PopMatters, Americana UK, Albumism, and The Bitter Southerner.He has interviewed and produced profiles on musicians as diverse as Isaac Hayes, Charlie Daniels, Little Richard, Kurt Vile and Daniel Lanois. In September 2021 he published the critically acclaimed biography of John Hiatt entitled “Have A Little Faith' with a foreword by Elvis Costello.  Do please look at Michael's website https://michael-elliott.com/ where you will find numerous plaudits for his book from people such as Bonnie Raitt, Rosanne Cash and Rodney Crowell. Michael's song choices were:·         70's -     East Bound and Down                                   Jerry Reed ·         80's -     Sweetheart Like You                                       Bob Dylan·         90's -     Buffalo River Home                                         John Hiatt·         00's -     Get Ur Freak On                                                Missy Elliott·         10's -     Drunk In Love                                                    Beyonce (feat. Jay-Z) ·         20's -     I Don't Live Here Anymore                           The War on Drugs (feat. Lucius) Enjoy ! 

Australian singer/songwriter Emma Swift's highly acclaimed Blonde On The Tracks album, with guitar backing by life partner (and former podcast guest) Robyn Hitchcock, was her breakthrough recording. Emma swears that "singing Dylan's songs is like wearing a magical cape. Suddenly you have special powers. My job is to give each song a different emotional angle".Currently based in London and East Nashville ("where you go into the grocery store and everybody looks like an extra from The Last Waltz"), Emma is devoted both to Elvis ("I love a man in a leather suit") and The Traveling Wilburys ("Dylan was the curmudgeonly uncle of the group"). If you get the chance, we recommend catching her live set ("if people are laughing, engaged and sometimes crying, that's why I do it!'")Emma Swift was born in Australia but splits her time between the UK and the USA. Inspired by Joni Mitchell, Marianne Faithfull and Linda Ronstadt, her sound is a blend of Folk, Americana and Indie Rock. Blonde On the Tracks received "Best of 2020" accolades from Rolling Stone, No Depression, the Guardian and more. In 2021, Rolling Stone named her version of Queen Jane Approximately as Number 17 in the 80 best Dylan covers of all time. Emma is currently recording two non-Dylan albums.WebsiteTwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.

Australian singer/songwriter Emma Swift's highly acclaimed Blonde On The Tracks album, with guitar backing by life partner (and former podcast guest) Robyn Hitchcock, was her breakthrough recording. Emma swears that "singing Dylan's songs is like wearing a magical cape. Suddenly you have special powers. My job is to give each song a different emotional angle".Currently based in London and East Nashville ("where you go into the grocery store and everybody looks like an extra from The Last Waltz"), Emma is devoted both to Elvis ("I love a man in a leather suit") and The Traveling Wilburys ("Dylan was the curmudgeonly uncle of the group"). If you get the chance, we recommend catching her live set ("if people are laughing, engaged and sometimes crying, that's why I do it!'")Emma Swift was born in Australia but splits her time between the UK and the USA. Inspired by Joni Mitchell, Marianne Faithfull and Linda Ronstadt, her sound is a blend of Folk, Americana and Indie Rock. Blonde On the Tracks received "Best of 2020" accolades from Rolling Stone, No Depression, the Guardian and more. In 2021, Rolling Stone named her version of Queen Jane Approximately as Number 17 in the 80 best Dylan covers of all time. Emma is currently recording two non-Dylan albums.WebsiteTwitterTrailerEpisode playlist on AppleEpisode playlist on SpotifyListeners: please subscribe and/or leave a review and a rating.