Podcasts about No wave

Lydia Lunch unpacks the raw origins of No Wave, her squatting-and-surviving New York story, and why after five decades of confrontational art, pleasure remains the ultimate rebellion. Australian tour tickets and show info here. Topics Include: Lydia Lunch is touring Australia and New Zealand in June She's performing Suicide and Alan Vega covers across multiple cities Australia holds deep personal meaning — Roland S. Howard, Tex Perkins, lifelong friends Lydia considers herself a comedian; most people are just too afraid to laugh Words are her primary art — music is just the machine gun She sleeps in two-hour shifts and wakes famished at 5am every day Creativity has no fixed time — she writes song lyrics in five minutes flat She self-publishes through 48-hour printing, selling books for $20, cost $4 True crime forensics and Matthew McConaughey in Magic Mike are her guilty pleasures Daily she rotates between war, politics, and apocalyptic comedy — Dear Ivanka included She's actively promoting new bands: Genra's Death, Bog Creeper, New City Slang Instrumental music — Budos Band, Yusef Lateef, Baba Zula — is her listening diet Suicide and Mars were already playing when she arrived in New York Suicide actually coined the term "punk rock" on flyers back in 1972 No Wave wasn't a movement — it was personal insanity in a decaying city The name "No Wave" just came out of her mouth in one interview If you couldn't play, you had to be brutally tight — or else She taught a homeless man she'd befriended to play drums for Teenage Jesus Teenage Jesus songs were written on a borrowed bass she barely understood She squatted an abandoned Tribeca building, running electricity from neighbours to rehearse Teenage Jesus singles on Migraine Records likely preceded the No New York compilation Beirut Slump was horror rock — described as a slug over a razor blade She arrived in New York with $200, a suitcase, and zero contacts Seeing Suicide at Max's Kansas City with ten people changed everything instantly Martin Rev gave teenage Lydia vitamins; Alan Vega was leather-bound and irresistible She boycotted Bowie and Iggy in Rochester — accidentally saving them from a drug bust Mick Ronson's Slaughter on 10th Avenue: the glam record Bowie quietly stole from Lou Reed — always a dick; Warhol — vapid, but his car crashes were great She owns every recording, every publishing right — everything she's ever made Her reward for a lifetime of rebellion: pleasure, rage, and zero regrets High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Robert "Bobby" Swope belonged to a talented cadre of avant-garde visionaries—among them Arto Lindsay, Connie Burg, Mark Cunningham, and Gordon Stevenson—who first crossed paths as students at Florida's Eckerd College in the mid-1970s. This collective moved to New York City in 1977,  where they formed the nucleus of the No Wave movement alongside other luminaries like Lydia. Bobby first met Lydia at her birthday celebration in 1978, where she was introduced to both Bobby and his sister, Liz. Captivated by their energy, Lydia invited the siblings to join Vivienne Dick and Jim Sclavunos in Beirut Slump, a side project conceived to run parallel to her band, Teenage Jesus and the Jerks. Bobby adopted the stage moniker Bobby Berkowitz, a satirical nod to David Berkowitz, the Son of Sam who had terrorized New York City from 1976 - 1977. Beirut Slump's tenure was brief—spanning a year of rehearsals, a single release, and three live performances—the group eventually dissolved as Lydia moved on to new frontiers. Following his foray into the musical underground, Bobby pursued a variety of professions before co-founding a successful antiques enterprise with his partner. The business eventually relocated to Pennsylvania, ultimately paving the way for Bobby's current chapter in Mexico City where this interview took place.

My guest this week is NYC-based musician, author, and performance artist Joseph Keckler (NPR's Tiny Desk, tours with Lydia Lunch & Sleater-Kinney), who chose the 1929 two-reeler short St. Louis Blues, which is the legend Bessie Smith's first and only film appearance. We discuss Joseph's iconic performance on NPR's Tiny Desk Concert Series, how he came to unleash his powerful vocal range on a wide range of audiences, choosing to write and sing in German about the adult moments where he was relapsing into a teenage Goth, befriending and touring with Lydia Lunch, Bebe Hansen, the current No-Wave scene in NYC, the excitement of having a standoff with an audience, opening for Sleater-Kinney, confusing but life-altering concert billings, where we both were when first hearing Bessie Smith and the imprint it left on us, why this 1929 short film of Bessie Smith was almost destroyed in the 50s, tape trading with The Residents, hearing Aretha Franklin's voice coming up through the floorboards and being obsessed with Cab Calloway & Bessie Smith as a child, Bessie's acting chops and the unique direction of this performance & more.So let's sing at the top of our lungs into the bottom of our beer mug on this week's Revolutions Per Movie.Joseph will be performing on May 31st 2026 in NYC at TV EYE w/ Genre Is DeathTickets available at tveyenyc.com/calendarJOSEPH KECKLER:josephkeckler.com/BESSIE SMITH in ST. LOUIS BLUES:youtube.com/watch?v=xIGscPYfEGsREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film, or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon (over 125 bonus episodes are available and counting). If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!PATREON:The show is also a completely independent affair, so the best way to support it is at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes and series such as A Very Opinionated Look At Urgh! A Music War & What Makes The Midnight So Special?, A Devotees Look At New Wave Theater, Exploring The Axis: The Oral History Of Frontier Records With Lisa Fancher, Dips On Chips w/ Jeff McDonald of Redd Kross, physical goods such as a limited edition 7" Flexidisc, and other exclusive goods that I send out to you for supporting the show. It helps the show to keep going and is greatly appreciated!TIP JAR:ko-fi.com/revolutionspermovieSOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Cabaret Voltaire are no one thing. Depending on which corner of the internet you found us from, you might know them as the caustic Sheffield noise act who preceded post-punk, the sinister electro-industrial outfit with a penchant for evangelical samples and anti-fascist agitprop, or the dancefloor-adjacent act who fetched up on Factory's Belgian satellite label and made something close to club music. You're all correct.This week, we have a guide. Phil Eaglesham — P6, former front person of Stretchheads and De Salvo, current singer in OMO, musical walking tour operator, man of broad and alarming musical learnings — is here to help us navigate one of the most complex and wilfully uncommercial bands to come out of the UK, via their transitional compilation Eight Crepuscule Tracks.We trace the band's origins in a Sheffield attic in 1973, chart their debts to dub, Black American music, and the sci-fi soundscapes that shaped a generation of working-class ears, and make the case that Cabaret Voltaire — despite their apparent difficulty — were one of the most industrious and fundamentally political bands of their era. We also get into their time at Western Works Studio, which functioned less like a recording facility and more like the gravitational centre of an entire Sheffield scene; their complicated relationship with Rough Trade; and their connections to Joy Division, Lydia Lunch, Clock DVA, and the bands that would become the Human League and ABC.Along the way, Phil brings original artefacts including a signed 1979 TG/Cab Vol/Rema Rema poster from Tottenham Court Road, and the original 12-inches the album is built from. We also ask what would have happened to Cabaret Voltaire without punk — and conclude they'd likely have ended up an academic footnote rather than a foundational text. Highlights: 00:00 Intro03:56 Meet Phil Eaglesham07:47 P6 — The Name and the Character09:29 Queer Identity in the Industrial Scene12:55 Pseudonyms and Rockism17:44 Cabaret Voltaire: The Basics22:32 Sheffield, Western Works, and the Scene25:18 Rough Trade, The Fall, and Being Prolific29:10 Working-Class Roots and Industrial Culture32:33 Sci-Fi Soundscapes and Electronic Prehistory35:11 Musique Concrète to Cab Vol: How Close Were They?36:13 Dadaism, Situationism, and Confrontational Art38:40 Punk's Effect on Audiences (Not Just Music)40:11 The Counterfactual: Cab Vol Without Punk41:43 Black Music, Funk, and the DNA Nobody Talks About43:39 New Wave, No Wave, and New York Connections46:29 Factory Records, Crépuscule, and the Belgian Connection47:49 Original Artefacts: Posters, 12-Inches, and History50:31 Why Eight Crepuscule Tracks?52:54 Looking Towards Next Week and Outro

Mega Surf expérimente et mélange les registres. Le groupe amiénois présente son premier album, Louche. Souvent classé entre rock indé, post-punk, math rock ou indie noise, Mega Surf se reconnaît surtout dans l'esprit “no wave” : une musique marquée par la dissonance, les ruptures rythmiques et des structures libérées du schéma couplet/refrain, portée par une approche expérimentale. infos : https://www.instagram.com/megasurf.band/ Production : Radio Campus Amiens, 2026 ——————— Starting Block l'émission Le rendez-vous hebdomadaire dédié aux musiques émergentes, à retrouver chaque vendredi sur les radios Campus de France Chaque semaine, une Radio Campus vous invite à découvrir les groupes, les salles, évènements et projets musicaux émergents de son territoire à travers une exploration radiophonique de 30 minutes chrono. Du groove phocéen au punk orléanais via le rock ‘n roll de Rennes, prenez le bon départ à l'écoute de Radio Campus pour cette course d'orientation inédite dans le son d'aujourd'hui! Infos & podcasts www.radiocampus.fr/emission/starting-block ------------------------------------------------------ RADIO CAMPUS FRANCE Radio Campus France est le réseau des radios associatives, libres, étudiantes et locales fédérant 30 radios partout en France. NOUS SUIVRE | FOLLOW US www.radiocampus.fr Insta @radio_campus NOUS ÉCOUTER | LISTEN Site, webradios et podcasts www.radiocampus.fr

Mega Surf expérimente et mélange les registres. Le groupe amiénois présente son premier album, Louche. Souvent classé entre rock indé, post-punk, math rock ou indie noise, Mega Surf se reconnaît surtout dans l'esprit “no wave” : une musique marquée par la dissonance, les ruptures rythmiques et des structures libérées du schéma couplet/refrain, portée par une approche expérimentale.infos : https://www.instagram.com/megasurf.band/Production : Radio Campus Amiens, 2026———————Starting Block l'émissionLe rendez-vous hebdomadaire dédié aux musiques émergentes, à retrouver chaque vendredi sur les radios Campus de FranceChaque semaine, une Radio Campus vous invite à découvrir les groupes, les salles, évènements et projets musicaux émergents de son territoire à travers une exploration radiophonique de 30 minutes chrono. Du groove phocéen au punk orléanais via le rock ‘n roll de Rennes, prenez le bon départ à l'écoute de Radio Campus pour cette course d'orientation inédite dans le son d'aujourd'hui!Infos & podcasts www.radiocampus.fr/emission/starting-block------------------------------------------------------RADIO CAMPUS FRANCERadio Campus France est le réseau des radios associatives, libres, étudiantes et locales fédérant 30 radios partout en France.NOUS SUIVRE | FOLLOW USwww.radiocampus.frInsta @radio_campusNOUS ÉCOUTER | LISTENSite, webradios et podcastswww.radiocampus.frHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Stick Figures Return: Late 70s–Early 80s Tampa Art Punks on Newly Released Recordings and MoreIn this episode we welcome back Maready Evergreen, Bill Carey, and Robert Dansby of The Stick Figures, following their 2022 episode. The conversation revisits the band's origins in the late 1970s and early 1980s Tampa and USF art scenes, and how they developed their creative approach within a DIY community.They discuss influences including punk, post-punk, 1960s rock, experimental film, and visual art, along with early recording sessions, studio experiments, and the challenges of making music outside major cultural centers. They also reflect on the recent release of early recordings that had remained unheard for decades.The episode explores legacy, collaboration, and reconnection, with reflections on friendship, artistic curiosity, and the lasting value of simply getting into a band and creating something meaningful.

On this episode, Marc talks with Adele Bertei, author of "No New York: A Memoir of No Wave and the Women Who Shaped the Scene," released today, March 31, 2026. It's an insightful and super-entertaining chronicle of Bertei's journey through New York music and art in the late 70s, including her time in Contortions and The Bloods as well as her solo career. It also delves deep into so many figures of the scene that Bertei worked and associated, particularly women such as Lydia Lunch, Nan Golden, Vivienne Dick, Patti Smith, and so many more.As she writes, "I wrote this book to dig deeper. What truly set No Wave apart from other artistic movements of the 1970s and early '80s? The women. They didn't just participate. They set the tone – and they lit the fuse...resisting tired stereotypes and reinventing according to our individual artistic visions...dismantling art's male-dominated paradigms, we ignored the boundaries of gender and genre."We hope you enjoy Marc's conversation with Adele Bertei!

In this episode we welcome back the marvellous Adele Bertei — five years after she first guested on our show — to talk about her amazing new book No New York. Beginning with a definition of the postpunk sub-genre "No Wave", the former Contortion recalls her experience of living in Manhattan's perilous East Village in the late '70s and playing organ behind the unhinged James Chance. She also pays tribute to the many fearless women who "shaped the scene", first and foremost the formidable Lydia Lunch. Our guest recalls working as a go-fer for Brian Eno and then being a crucial part of the No New York album the former Roxy Musician oversaw in 1978. We hear not just about Chance's Contortions and Lunch's Teenage Jesus & the Jerks but about Mars, DNA, the Bush Tetras and finally Adele's own funky feminist troupe the Bloods. After collective reflections on No Wave's slow dissolution — and Adele's subsequent '80s adventures with the likes of Thomas Dolby — Barney and Jasper rave about the week's featured artist Robyn and the week's featured audio, in which the late Chip Taylor reminisces about such classic hit songs as 'Wild Thing' and 'Try (Just a Little Bit Harder)'. Finally, Mark quotes appropriately from a 1978 Talking Heads interview and Jasper enjoys a Caroline Sullivan diss of Eminem's Marshall Mathers LP from 2000. Many thanks to special Adele Bertei. No New York: A Memoir of No Wave and the Women Who Shaped the Scene is published by Faber and available now. Pieces discussed: Nobody Waved Goodbye: Bands At Artists Space, Brian Eno's No New York compilation, Sons and Daughters of No New York: DNA, Robyn: Blonde Ambition, Robyn, Röyksopp: "There's This Idea That You're An Oddball, Far Up At The Top Of The World", Robyn: Brixton Academy, London, Chip Taylor audio, The Talking Heads sing more songs about buildings and food⁠, Eminem: The Marshall Mathers LP and It's no wonder Dylan didn't take the fight to Beijing — he was never very political.

Grab your zines, dust off your stencils and customise your jackets because Jeremy and Tim are continuing our mini-series on post-punk with a healthy dollop of DIY culture. They discuss the infamous Sniffin' Glue magazine, visit Dial House to ponder the ultimate UK DIY heroes Crass, and spin some of the most out-there No Wave cuts NYC had to offer. Elsewhere in the episode they dedicate time to outré post punk pioneers Devo, shout out the pipes on Lydia Lunch, dwell on punk's dub and hip hop influences as expressed through a classic Clash track, and unpick the aesthetics of uptightness. Plus Glen Branca, Epping Forest and… Crosby Stills Nash & Young. Produced by Matt Huxley.Patreon.com/LoveMessagePodwww.loveisthemessagepod.co.ukTracklist:Crosby, Stills, Nash & Young - OhioDevo - Satisfaction Theoretical Girls - You Got Me Alternative TV - Action Time Vision The Clash - White Man in Hammersmith Palais Teenage Jesus and the Jerks - Orphans Crass - Sucks

durée : 00:12:44 - Les Midis de Culture - par : Marie Labory - Kim Gordon, ex chanteuse des Sonic Youth, livre un troisième album solo encore et toujours révolté, avec une touche d'intériorité. - réalisation : Laurence Malonda - invités : Carole Boinet Journaliste française; Christophe Conte Journaliste

Adele Bertei in conversation with David Eastaugh  https://www.roughtrade.com/product/adele-bertei/no-new-york-a-memoir-of-no-wave-and-the-women-who-shaped-the-scene In 1975 a young queer singer from Cleveland meets photographer Nan Goldin - an encounter that will lead them to New York's bombed-out downtown, where something unprecedented is brewing. At Max's Kansas City and CBGBs, in derelict lofts and underground clubs, a generation of visionary women artists is rewriting the rules of creativity, sexuality, and power. Adele Bertei didn't just witness the No Wave explosion-she ignited it. As acetone organist for the Contortions and Brian Eno's assistant, she was at the epicenter when punk collided with post-punk, birthing a counterculture that fused music, art, cinema, fashion and outlaw literature into an uncompromising explosion of creativity. While mainstream culture wallowed in sexism and homophobia, these artists and more created something fluid, fierce, and transgressive. Raw, gripping, and illustrated with rare photographs from personal collections, No New York is the definitive insider's account of the women who obliterated every barrier in their path, taking you deep into the artistic and sexual experimentation of an era when true expression mattered more than money or fame.

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/new-books-network

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/science-technology-and-society

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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.

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/technology

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/popular-culture

The famous actor comes to Herman in a dream, convincing him to make his feature “Bear Naked Amazonians from Mars.” If he makes the deadline, the film will take Best Feature at South by Southwest, making Herman an international celebrity. What motivated you to make this film? I was inspired by No Wave film  –  a movement from  NYC 1976-1982. In this style, you shoot it now. Before you even have a complete understanding of the story. You blast your way into the production and trust instincts. I thought this would be a great departure from my first narrative film, in which I was much more careful. I think in the future I will return to a more traditional, methodical plan, having learned what I needed in the process of making a No Wave inspired film.  From the idea to the finished product, how long did it take for you  to make this film? 18 weeks and two days from the first day of writing to the last shot of principal photography, then 18 months of editing and graphics, VFX, etc.  How would you describe your film in two words!? Hope High What was the biggest obstacle you faced in completing this film? Other than time and money? Personalities. If even one cast member is not doing an indie film for the love of it, but rather from the money or career advancement it might bring, the whole cast and crew gets infected with negativity.  —— Subscribe to the podcast: Tweets by wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

Adele Bertei got a Greyhound to New York in 1977 intent on joining a band. James Chance thought she “looked like a pimp” and hired her as the organist in the Contortions, an instrument she couldn't play. Her memoir No New York captures the most intoxicating times imaginable, the rise of Blondie, Talking Heads, Television, Madonna and her fellow raft of No Wave cheerleaders in pursuit of dismantling music. Highlights include … … the local priest recommending the Velvet Underground when she was 11 … “imbibe and dream”: her weekend with Lester Bangs … the rubble-filled New York wasteland of 1977, landlords setting fire to property just to claim the insurance … the No Wave circuit: crowd violence and singers who either talked or screamed .. her rivalry with Madonna: “our labels didn't want people to know we were white” … the local Cleveland “Rust Belt” - Pere Ubu, Chrissie Hynde, Devo … why Warhol, Ginsberg and Burroughs seemed laughably outmoded … Brian Eno's shopping list … the power of Tina Weymouth, Patti Smith and Debbie Harry (“sexy but with a snarl”) and why New York's venues are internationally mythical. Order Adele Bertei's ‘No New York' here: https://www.faber.co.uk/product/9780571386154-no-new-york/?srsltid=AfmBOor2IKVLRyzzZDisLz_8cTGDYIjDXphZVU9Lw5drAd4CdKR1KVhs Adele with Thomas Dolby on Whistle Test: https://www.youtube.com/watch?v=JQ3bGioFCXUHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Adele Bertei got a Greyhound to New York in 1977 intent on joining a band. James Chance thought she “looked like a pimp” and hired her as the organist in the Contortions, an instrument she couldn't play. Her memoir No New York captures the most intoxicating times imaginable, the rise of Blondie, Talking Heads, Television, Madonna and her fellow raft of No Wave cheerleaders in pursuit of dismantling music. Highlights include … … the local priest recommending the Velvet Underground when she was 11 … “imbibe and dream”: her weekend with Lester Bangs … the rubble-filled New York wasteland of 1977, landlords setting fire to property just to claim the insurance … the No Wave circuit: crowd violence and singers who either talked or screamed .. her rivalry with Madonna: “our labels didn't want people to know we were white” … the local Cleveland “Rust Belt” - Pere Ubu, Chrissie Hynde, Devo … why Warhol, Ginsberg and Burroughs seemed laughably outmoded … Brian Eno's shopping list … the power of Tina Weymouth, Patti Smith and Debbie Harry (“sexy but with a snarl”) and why New York's venues are internationally mythical. Order Adele Bertei's ‘No New York' here: https://www.faber.co.uk/product/9780571386154-no-new-york/?srsltid=AfmBOor2IKVLRyzzZDisLz_8cTGDYIjDXphZVU9Lw5drAd4CdKR1KVhs Adele with Thomas Dolby on Whistle Test: https://www.youtube.com/watch?v=JQ3bGioFCXUHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Adele Bertei got a Greyhound to New York in 1977 intent on joining a band. James Chance thought she “looked like a pimp” and hired her as the organist in the Contortions, an instrument she couldn't play. Her memoir No New York captures the most intoxicating times imaginable, the rise of Blondie, Talking Heads, Television, Madonna and her fellow raft of No Wave cheerleaders in pursuit of dismantling music. Highlights include … … the local priest recommending the Velvet Underground when she was 11 … “imbibe and dream”: her weekend with Lester Bangs … the rubble-filled New York wasteland of 1977, landlords setting fire to property just to claim the insurance … the No Wave circuit: crowd violence and singers who either talked or screamed .. her rivalry with Madonna: “our labels didn't want people to know we were white” … the local Cleveland “Rust Belt” - Pere Ubu, Chrissie Hynde, Devo … why Warhol, Ginsberg and Burroughs seemed laughably outmoded … Brian Eno's shopping list … the power of Tina Weymouth, Patti Smith and Debbie Harry (“sexy but with a snarl”) and why New York's venues are internationally mythical. Order Adele Bertei's ‘No New York' here: https://www.faber.co.uk/product/9780571386154-no-new-york/?srsltid=AfmBOor2IKVLRyzzZDisLz_8cTGDYIjDXphZVU9Lw5drAd4CdKR1KVhs Adele with Thomas Dolby on Whistle Test: https://www.youtube.com/watch?v=JQ3bGioFCXUHelp us to keep the conversation going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Meg tells of how Joseph Porto and his lawyer Barry Slotnick defended his murder of Kathleen Holland. Jessica introduces artist/No Wave innovator Klaus Nomi who inspired Bowie, Hedwig and more.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

The filmmaker Amos Poe was a guest on the podcast on two memorable occasions. The first time we sat was in a podcast studio in the East Village; Episode 385 in the Fall of 2016. For Amos’ second appearance, we sat in the downstairs lobby of the Roxy Hotel in Tribeca outside the screening room; that was Episode 520 in the Fall of 2018. Poe was a major influence in the underground filmmaking scene of Downtown NYC —aka the No Wave movement— beginning in the mid-1970’s. Of that community, which included folks like Jim Jarmusch, Bette Gordon and Eric Mitchell among others, Poe was often credited as being the first to pick up a camera. He would go on to make such films as “The Blank Generation” and “Unmade Beds”. I had heard he was ill for the past bunch of years and had reached out to him about returning, but he understandably had more important things to do with his time. He passed away on Christmas Day after a prolonged battle with cancer and is survived by his wife Claudia Summers and daughter Lisa Poe.

In this episode we are delighted to welcome Emily Dollery, bassist and lead vocalist for THERAPY HORSE. She tells us her musical story, how the band came together, how the music comes together and the story of their epic 12 hour recording session.THERAPY HORSE are a Cork/Limerick trio bringing a terrific blast of no wave/noise rock/shoegaze energy to the Irish alternative guitar scene. They are completed by Cormac Donovan O'Neill and Eoin Schuch, who are also in Pebbledash. Their debut single LET ME BE CLEAR was released in August 2025 and second single LOVE/MERCY on September 26.THERAPY HORSE on InstagramPowgirl on SpotifyMother of Pearl LP on CDLady Lazarus by Sylvia PlathLive DatesDolans Kasbah Oct 2 with Mother of PearlCork Kino Oct 4 with SkinnerDolans Kasbah Oct 16 with The Low FieldThe Grand Social Nov 20 with Slyrydes

In this episode of What's My Thesis?, host Javier Proenza speaks with Emma Christ, editor at Artillery magazine and gallerist working between Portland and Los Angeles. Christ reflects on her beginnings in photography, formative years at Bard and Reed, and her transition from artistic practice into gallery management, editing, and writing. The conversation traces her early influences—from Francesca Woodman, Diane Arbus, and William Eggleston to mentorship under No Wave photographer Barbara Ess—before moving into immersive installation work and a graduate thesis on trans-corporeality and the porous body. Christ discusses her experiences in institutions such as the Portland Institute for Contemporary Art, her role in supporting artists within commercial gallery structures, and the gendered dynamics that continue to shape the field. Throughout the episode, Christ shares candid insights into navigating the hierarchies of the art world, balancing writing and curating, and the importance of advocating for emerging voices across both editorial and exhibition platforms.

For this episode we're joined online from northwest Massachusetts by the legendary Byron Coley, champion of all things weird and non-mainstream. After describing his somewhat peripatetic childhood, our guest explains – very amusingly – why as a teenager he hated the Beatles and what led him eventually to the more subversive sounds of the Mothers of Invention and their ilk. A digression on the Grateful Dead – whose Jerry Garcia we lost 30 years ago this month – is followed by Byron's memories of first reading R. Meltzer and Nick Tosches in Crawdaddy! and Creem... and how a teaching assistant grad student inspired him to "write like you talk". After Barney reads from Byron's 1980 New York Rocker piece on Lydia Lunch's 8-Eyed Spy – prompting our guest's recall of first seeing her No Wave trailblazers Teenage Jesus & the Jerks live – we hear about his 1978 Rocker interview with the incomparable Captain Beefheart. This in turn leads to clips from Gary Lucas' audio interview with the artist born Don Van Vliet, recorded in January 1972. After a quick late '70s/early '80s detour via his temporarily adopted California, Byron talks about his return to the East Coast and his writing for Boston's Forced Exposure – not to mention his rather more lucrative "Underground" columns for Spin. In passing he explains how his friendship with Sonic Youth led to a declaration of war on Bob ("Dean of American Rock Critics") Christgau. We finish up by paying tribute to blue-eyed-soul man Terry Reid and beloved Salsa star Eddie Palmieri. Finally, Mark and Jasper talk us out with remarks on newly-added library pieces about the Legendary Stardust Cowboy (1968), Ronnie Wood and cronies (1974) and Lana Del Rey (2019). Many thanks to special guest Byron Coley. Find his book C'est La Guerre in all good bookshops and follow him on BlueSky @byroncoley.bsky.social. Pieces discussed: Way Out West With 8-Eyed Spy, Sonic Youth, Captain Beefheart: Grow Fins, Jason Gross interviews Byron Coley, Jerome John Garcia 1942-1995, The Grateful Dead: Burnout Sets In, The Exhumation of The Dead, Captain Beefheart audio, Terry Reid, Terry's Funky Steamer, Eddie Palmieri: The Man Who Stirred Up Salsa, Top Tunes: the Legendary Stardust Cowboy, The Night Ron, Keith, Mac and Rod played a gig without falling over and Lana Del Rey Lives In America's Messy Subconscious.

This week we're diving headfirst into the gloriously pretentious world of No Wave - the three-year New York art scene that somehow managed to influence everything that followed. Chris has somehow convinced Mark and our resident Italian punk professor Ferro to explore how a bunch of art school dropouts in a financially bankrupt New York accidentally created one of music's most important movements. We start with New York City in 1978: a proper shithole where you'd genuinely risk your life getting a taxi to Brooklyn, Times Square was basically a war zone, and the city had literally gone bankrupt. Perfect conditions, as it turns out, for a load of bohemian kids to move in, pay bugger all rent, and start making the most deliberately difficult music imaginable. Enter Brian Eno, who's meant to be in New York producing Talking Heads like a normal person, but instead wanders into some art space gig and discovers bands like Teenage Jesus and the Jerks, DNA, Mars, and The Contortions doing something completely mental. Being Brian Eno, he obviously decides to document the whole thing, creating the legendary "No New York" compilation that basically put the entire movement on the map. We get properly stuck into the key figures: Lydia Lunch being an absolute force of nature in Teenage Jesus and the Jerks, James Chance slapping music critics (literally - he assaulted Robert Christgau), and the various weirdos who decided that what punk really needed was to be even more antagonistic to its audience. Ferro brings his encyclopaedic knowledge of the European connections, particularly the parallels between New York's urban decay and Berlin's post-war experimental scene. We explore how Einstürzende Neubauten were literally destroying studio floors with sledgehammers whilst Throbbing Gristle were essentially inventing industrial music in their Yorkshire squat. The conversation sprawls magnificently through Swans' absolutely punishing early albums, the way Sonic Youth emerged from this scene, and how bands like Bush Tetras and Rat at Rat R kept the torch burning. We also dive into some proper tangents about Madonna apparently being in an art punk band with future Swans members (mental) and how this whole movement influenced everything from the Load Records noise rock scene to modern post-metal. This is part two of our anti-rock trilogy. Last week we tackled the prehistory from musique concrète to Captain Beefheart, and next week we'll finally get to US Maple and try to explain why anyone would voluntarily subject themselves to their particular brand of musical torture. Highlights 00:00 Introduction to No Wave and Brian Eno's Influence 00:33 Welcome to the Podcast 01:04 Recap of Previous Episode 02:14 The Rise of No Wave in Late 1970s New York 02:46 Sociological Context of 1970s New York 02:59 Key Figures and Bands in No Wave 03:43 The No New York Compilation Album 07:59 Brian Eno's Role and Impact 11:02 Musical Influence and Legacy of No Wave 20:04 James Chance and The Contortions 22:44 Sonic Youth and Swans: Post No Wave Evolution 25:51 The Influence of Swans on Post-Metal 27:25 Exploring Lesser-Known Bands: Rat at Rat R and Bush Tetras 28:48 The Impact of Foetus and Throbbing Gristle 35:13 Berlin's No Wave Movement and Einstürzende Neubauten 41:08 The Legacy of No Wave in Chicago and Beyond 45:03 Anti-Rock Bands and Their Influence 48:38 Concluding Thoughts and Teasers for Next Episode

This week we're tackling the wonderfully niche concept of anti-rock. Or more specifically, we're trying to work out what the hell it actually is, why Google doesn't seem to know either, and how it connects to everything from Frank Zappa taking the piss out of The Beatles to bands who are so talented they deliberately make themselves sound rubbish. Chris has dragged poor Mark and our resident punk professor Ferro down a rabbit hole that starts with French composers banging bits of concrete in the 1940s and somehow ends up at US Maple, a band that sounds like they're actively trying to annoy you. Along the way we encounter Captain Beefheart's deliberately mental Trout Mask Replica, The Residents being mysterious weirdos in eyeball masks, and Suicide essentially inventing electronic music with what amounts to a homemade fuzz box. We get properly stuck into the prehistory of experimental music, from Pierre Schaeffer's musique concrète through to the New York art scene of the 1970s. Our main thesis is that anti-rock isn't just noise for the sake of it - it's what happens when genuinely skilled musicians decide to systematically tear apart rock conventions from the inside. Think of it as punk's more cerebral, art school cousin who's read too much Derrida. This is part one of three. Next week we'll tackle the No Wave explosion in late 70s New York, and part three will finally explain why US Maple exist and why anyone would voluntarily listen to them. We also touch on Glenn Branca's guitar symphonies, Pere Ubu's Cleveland weirdness, and try to work out why some of the most influential experimental music came from artists who could absolutely play it straight if they wanted to. Spoiler: they definitely didn't want to. Timestamps: Episode Highlights: 00:00 Introduction and Initial Banter 00:51 Meet the Guest: Ferro (Not Pharaoh) 01:47 Ferro's Musical Journey and PhD in Punk 04:16 What the Hell Is Anti-Rock? 09:37 French Blokes Banging Concrete: The Birth of Musique Concrète 22:01 When Classical Composers Lost Their Minds 27:48 Moondog: The Homeless Viking of Sixth Avenue 28:25 How American Music Got Properly Weird 29:15 Snake Time Rhythms and Native American Influences 30:04 From Experimental Composers to Rock Subversion 30:36 Captain Beefheart's Deliberately Mental Masterpiece 35:05 Red Crayola: Texan Psychedelic Deconstructionists 40:42 The Residents: Eyeball Masks and Musical Terrorism 47:09 Suicide: Two Blokes and a Homemade Fuzz Box 52:06 Pere Ubu: Cleveland's Contribution to Musical Chaos 55:38 Setting Up the No Wave Explosion

Join us in conversation with renowned songstress and author, Adele Bertei, as we weave our way through the life and times of Sinead O'Connor, courage in the name of justice, and the healing power of song. Adele is an anti-disciplinary author, director, performer, and composer currently residing in Los Angeles, CA. She is the author of Peter and the Wolves (Smog Veil, 2020), Why Labelle Matters (University of Texas Press, 2021), Twist: Tales of a Queer Girlhood (ZE Books, 2023), and Universal Mother (Bloomsbury 33 1/3, 2025).   Bertei was an original member of the critically lauded Contortions, produced by Brian Eno on the seminal No New York LP. Reading prose and poetry, she opened for writers such as William Burroughs, Allen Ginsberg, and Kathy Acker among many others. Bertei acted in several underground films, including a lead role in Born In Flames by Lizzie Borden.   Bertei was lead singer in the Bloods –America's first openly queer band of women, and has performed and recorded as a backing vocalist and touring vocalist for artists such as Tears for Fears, Thomas Dolby, Culture Club, Whitney Houston, Sandra Bernhard and Sophie B. Hawkins among many others.   New York City's Museum of Modern Art recently acquired films of Bertei reading her poem The Ragazzi Manifesto in 1978, and The Offenders by Scott and Beth B., where Bertei plays the lead.   She has created and facilitated songwriting workshops for homeless youth at My Friend's Place in Hollywood, and as a member of Wayne Kramer's Jail Guitar Doors, teaching songwriting to the incarcerated at the Twin Towers facility in downtown LA, and at Century Women's Regional Center at Lynwood, the largest women's jail in the nation.   Her next book, No New York: A Memoir of No Wave and the Women Who Shaped the Scene, will be released in early 2026 by Faber & Faber UK.   Thanks to my producer and editor, Lucas Bakker @Iamlucasbakker- whose original music and soundtrack weave the Blue Medicine Journal podcast all together!  

This week I was joined by Jeremy Hunt for a fun conversation around his lates book, "From Chaos to Ambiguity: A Theology of Noise Rock". It is not often that I get to nerd out about my love for music and my love for theology in the same conversation! We take a deep dive into the history of Punk to No Wave to Noise Rock. We discuss the power of music and sound and Jeremy weaves in a deep theology of presence and creativity. Radical Theology & Process Theology also find their way into the conversation as always... Enjoy! RESOURCES: From Chaos to Ambiguity: A Theology of Noise Rock (Book) QOHELETH (Band Camp) *A special thanks to Josh Gilbert, Marty Fredrick, and Dan Koch. Love you guys

Let's get avant-garde and abstract - it's time to throw it back to 1970s downtown New York City for this week's Top 5 countdown. Dave Hanratty and Sonic Architect Adam Shanahan know next-to-nothing about this genre, so thankfully they have Dublin-based roustabout Skinner on board to take them through it. The multi-instrumentalist is fresh off tour in support of his debut album New Wave Vaudeville, which gets the official NO ENCORE 'go listen to this right after the podcast' seal of approval. ACT ONE (6:47): Skinner talks New Wave Vaudeville and falls prey to some impromptu quickfire quizzing. ACT TWO (33:02): This week's news section takes in the Oscars, Drake and Travis Scott witnessing John Cena's shocking heel turn, FIFA going full Super Bowl, ultra-brief Choice Prize chat, questionable auction items, and Dave's Sonic Challenge. ACT THREE (1:10:36): Top 5 No Wave.-Follow Skinner on Instagram Listen to New Wave Vaudeville on Bandcamp / Spotify / Apple Music Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Meg investigates the twisted tale of lemur enthusiast Professor John Buettner-Janusch. Jessica follows the star-studded origins of the club hit The Dominatrix Sleeps Tonight.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

In Episode #210 of The XS Noize Podcast, host Mark Millar speaks with Irish No-Wave Provocateur Skinner about his debut album, New Wave Vaudeville. Skinner kicks off 2025 with the release of his highly anticipated debut album, New Wave Vaudeville. The project of Dublin-based multi-instrumentalist, singer, and producer Aaron Corcoran, Skinner draws inspiration from the New York No Wave scene of the late '70s and early '80s. New Wave Vaudeville pays homage to the eclectic "New Wave Vaudeville" music variety freak show at New York's 57 Club from 1978 to 1983. Known for its unrestrained art performances and debaucherous energy, the 57 Club offered a wild counterpoint to the growing commercialization of modern culture—a spirit perfectly mirrored in the rambunctious and free-spirited sound of Skinner's debut collection. In this episode, Skinner discusses the writing and recording process behind New Wave Vaudeville, his upcoming shows, and much more. Listen via YouTube | Apple Podcasts | Spotify | Amazon Music | RSS – Find The XS Noize Podcast's complete archive of episodes here. Previous XS Noize Podcast guests have included Gavin Friday, Anton Newcombe, Peter Hook, The Twang, Sananda Maitreya, James, Crowded House, Elbow, Cast, Kula Shaker, Shed Seven, Future Islands, Peter Frampton, John Lydon, Bernard Butler, Steven Wilson, Midge Ure, Travis, New Order, The Killers, Tito Jackson, Simple Minds, Divine Comedy, Shaun Ryder, Gary Numan, Sleaford Mods, The Brand New Heavies, Villagers, and many more.  

Chapter 1 What's No Wave by Thurston Moore"No Wave" by Thurston Moore is a profound exploration of an avant-garde music movement that emerged in New York City during the late 1970s. Characterized by its experimentalism, No Wave rejected the conventions of traditional rock and punk, opting instead for dissonance, noise, and a radical approach to sound. The genre was notably influenced by the harsh urban environment of New York, corresponding with the socio-political turmoil of the time. Artists associated with No Wave, such as Sonic Youth, Swans, and James Chance, embraced elements of free jazz, minimalism, and punk, creating an abrasive and confrontational experience.Throughout the text, Moore illustrates how No Wave was more than just a musical genre; it was also a cultural movement that intertwined visual art, film, and performance. He brings attention to key venues like CBGB and The Kitchen where No Wave artists showcased their work, and mentions the collaborative spirit among musicians, which was essential for the movement's evolution. The book maintains that No Wave's legacy continues to influence contemporary music and art, illustrating its lasting impact on the creative landscape.Chapter 2 No Wave by Thurston Moore Summary"No Wave" is a musical movement and artistic style that emerged in the late 1970s in New York City, characterized by its avant-garde approach to punk rock. It sought to break away from the conventional structures and sounds of typical rock music by incorporating dissonance, noise, and unorthodox performance styles. In his exploration of No Wave, Thurston Moore, the guitarist and vocalist of the iconic band Sonic Youth, reflects on the genre's influence on music and art. Moore emphasizes the genre's raw, experimental nature and its rejection of traditional melodies and harmonies. Bands associated with No Wave, such as Swans, DNA, and Mars, utilized feedback, atonality, and unconventional song structures to challenge listeners and redefine what music could be.The movement was not merely musical; it also encompassed visual art and performance, bringing together artists like Jean-Michel Basquiat and performance artist Laurie Anderson. Moore discusses how No Wave represented a response to both the commercialization of the music industry and the cultural dynamics of New York City during that era, highlighted by tensions around race and politics. In summary, Moore's insights reflect a deep appreciation for the No Wave movement as a pivotal point in the evolution of experimental music, underscoring its legacy as a profound influence on future genres and artists who continue to push the boundaries of sound.Chapter 3 No Wave AuthorThurston Moore is an American musician, songwriter, and author, best known as the guitarist and co-founder of the influential alternative rock band Sonic Youth. He is a prominent figure in the underground music scene and has played a significant role in the development of the No Wave movement, which emerged in downtown New York City in the late 1970s. No Wave Book DetailsRelease Date: Thurston Moore's book, titled "No Wave", was released on August 21, 2018. This book delves into the No Wave music scene, detailing its evolution and significance. Other Books by Thurston Moore"Confusion is Next" (1998) A book that explores the history of Sonic Youth and the underground music scene."The Best Day" (2015) This book captures Moore's thoughts and insights on music and life."Scene History" (2014) A unique exploration of the connections between punk rock, poetry, and art."Sonic Youth: The Very Best of" (2020) This work includes various written pieces about the band's impact and legacy. Best EditionIn terms of editions, "No Wave" is considered particularly significant due to its in-depth analysis and visual documentation of a crucial music movement, making it...

While Lydia and Tim have been busy on their respective tours, finding time to record new episodes has been challenging. In the meantime,  take a trip down memory lane revisiting a memorable moment from the early days. Shortly after arriving in Los Angeles in January of 2019, Lydia and Tim sat down with the legendary burlesque star and actress, Kitten Natividad. In this candid conversation, Kitten shares how she transitioned from a conventional career to burlesque, her experiences with director Russ Meyer, and her fond memories of Tom Selleck and Sean Penn's bachelor party. Sadly, in 2022, Kitten passed away. welcomed Lydia and Tim into her home as they navigated the early challenges of podcasting. She was cheerful, whip smart, and very very funny.  

In today's episode, Jacob, a physicist specializing in quantum mechanics, explores groundbreaking ideas on measurement, the role of probabilistic laws, and the foundational principles of quantum theory. With a focus on interdisciplinary approaches, Jacob offers unique insights into the nature of particles, fields, and the evolution of quantum mechanics. New Substack! Follow my personal writings and EARLY ACCESS episodes here: https://curtjaimungal.substack.com SPONSOR (THE ECONOMIST): As a listener of TOE you can get a special 20% off discount to The Economist and all it has to offer! Visit https://www.economist.com/toe LINKS MENTIONED: - Wigner's paper ‘Remarks on the Mind-Body Question': https://www.informationphilosopher.com/solutions/scientists/wigner/Wigner_Remarks.pdf - Jacob's lecture on Hilbert Spaces: https://www.youtube.com/watch?v=OmaSAG4J6nw&ab_channel=OxfordPhilosophyofPhysics - John von Neumann's book on ‘Mathematical Foundations of Quantum Mechanics': https://amzn.to/48OkeVj - The 1905 Papers (Albert Einstein): https://guides.loc.gov/einstein-annus-mirabilis/1905-papers - Dividing Quantum Channels (paper): https://arxiv.org/pdf/math-ph/0611057 - Sean Carroll on TOE: https://www.youtube.com/watch?v=9AoRxtYZrZo - Scott Aaronson and Leonard Susskind's paper on ‘Quantum Necromancy': https://arxiv.org/pdf/2009.07450 - Scott Aaronson on TOE: https://www.youtube.com/watch?v=1ZpGCQoL2Rk - Leonard Susskind on TOE: https://www.youtube.com/watch?v=2p_Hlm6aCok - Ekkolapto's website: https://www.ekkolapto.org/ TIMESTAMPS: 00:00 - Introduction 01:26 - Jacob's Background 07:32 - Pursuing Theoretical Physics 10:28 - Is Consciousness Linked to Quantum Mechanics? 16:07 - Why the Wave Function Might Not Be Real 20:12 - The Schrödinger Equation Explained 23:04 - Higher Dimensions in Quantum Physics 30:11 - Heisenberg's Matrix Mechanics 35:08 - Schrödinger's Wave Function and Its Implications 39:57 - Dirac and von Neumann's Quantum Axioms 45:09 - The Problem with Hilbert Spaces 50:02 - Wigner's Friend Paradox 55:06 - Challenges in Defining Measurement in Quantum Mechanics 01:00:17 - Trying to Simplify Quantum for Students 01:03:35 - Bridging Quantum Mechanics with Stochastic Processes 01:05:05 - Discovering Indivisible Stochastic Processes 01:12:03 - Interference and Coherence Explained 01:16:06 - Redefining Measurement and Decoherence 01:18:01 - The Future of Quantum Theory 1:24:09 - Foundationalism and Quantum Theory 1:25:04 - Why Use Indivisible Stochastic Laws? 1:26:10 - The Quantum-Classical Transition 1:27:30 - Classical vs Quantum Probabilities 1:28:36 - Hilbert Space and the Convenience of Amplitudes 1:30:01 - No Special Role for Observers 1:33:40 - Emergence of the Wave Function 1:38:27 - Physicists' Reluctance to Change Foundations 1:43:04 - Resolving Quantum Mechanics' Inconsistencies 1:50:46 - Practical Applications of Indivisible Stochastic Processes 1:57:53 - Understanding Particles in the Indivisible Stochastic Model 2:00:48 - Is There a Fundamental Ontology? 2:07:02 - Advice for Students Entering Physics 2:09:32 - Encouragement for Interdisciplinary Research 2:12:22 - Outro TOE'S TOP LINKS: - Support TOE on Patreon: https://patreon.com/curtjaimungal (early access to ad-free audio episodes!) - Listen to TOE on Spotify: https://open.spotify.com/show/4gL14b92xAErofYQA7bU4e - Become a YouTube Member Here: https://www.youtube.com/channel/UCdWIQh9DGG6uhJk8eyIFl1w/join - Join TOE's Newsletter 'TOEmail' at https://www.curtjaimungal.org Other Links: - Twitter: https://twitter.com/TOEwithCurt - Discord Invite: https://discord.com/invite/kBcnfNVwqs - iTunes: https://podcasts.apple.com/ca/podcast/better-left-unsaid-with-curt-jaimungal/id1521758802 - Subreddit r/TheoriesOfEverything: https://reddit.com/r/theoriesofeverything #science #sciencepodcast #physics Learn more about your ad choices. Visit megaphone.fm/adchoices

The Untold Story of Sheer Smegma/Teddy and the Frat GirlsJoin us as we uncover the untold story of Sheer Smegma/Teddy and the Frat Girls, Florida's pioneering all-female punk/no wave band from West Palm Beach! Spam Ax shares personal stories and reflections on the band's early days, influences, and South Florida punk scene of the late 70s and early 80s. [Recorded on 09/29/2024]☞ Follow Florida Sound Archive on Instagram! @floridasoundarchive ☞ Please SUBSCRIBE to the channel and give the video a thumbs up if you enjoy the contentConnect with Teddy and the Frat GirlsInstagram @teddyandthefratgirls...Related Episodes:The Story of Charlie Pickett - https://youtu.be/-geZ4dTJEG8

Thurston Moore is one of the most famous names in rock. With Kim Gordon and Lee Ronaldo, he formed Sonic Youth, one of the definitive art rock bands... yes, ART rock. Sonic Youth album covers famously spotlighted artists, from Gerhard Richter's candle on the cover of 1988's Daydream Nation to Raymond Pettibon's cartoon couple on the cover of 1990's Goo to Mike Kelley's stuffed animal on the cover of 1992's Dirty to Marnie Weber's collage for 1998's A Thousand Leaves. Well, now Moore is back, putting out a new dreamy solo album titled Flow Critical Lucidity, and true to form, the cover is another literal work of art: a photo of a sculpture of what appears to be metal helmet, studded with tuning forks. This is a work called Samurai Walkman, by the artist Jamie Nares. Nares is a figure of major cachet herself. She only just had a film retrospective at the Museum of Modern Art here in New York in the summer. Back in 2020, her fantastic 2011 video Street was the first film to be projected on the exterior of the Metropolitan Museum of Art—Thurston Moore, in fact, did the soundtrack to that film. Nares and Moore have a fruitful history of collaboration together, having both come up in the chaotic, experimental No Wave scene of the 1970s, and this week they join Ben Davis on the podcast to discuss. We're also thrilled to announce the launch of Art Market Minute, our new micro-podcast, hosted by news editor Margaret Carrigan. It offers a weekly snapshot of essential art market news, expertly compiled by the Artnet PRO editorial team. You can find it wherever you get your podcasts every Monday.

Pat Irwin is a musician and composer based in Long Island City. He was a significant figure in New York City's No Wave music scene during the 70s and 80s and later toured and recorded with The B-52s for many years. Pat has also enjoyed a successful career as a composer for film and television, scoring well-known projects such as "SpongeBob SquarePants," "Rocko's Modern Life," "Dexter: New Blood," and "Nurse Jackie." His current band, Suss, recently released an album called Birds and Beast and has upcoming tour dates scheduled. In this episode, Pat reflects on his extensive music career in New York City, discusses the importance of creative spaces and artistic collaboration, and shares advice for young musicians looking to break into today's music industry. Filmed at Brown Harris Stevens' Studio 1873, Part of the Mastery of Real Estate (MORE) Network. Subscribe: https://podcasts.apple.com/us/podcast/the-big-life-nyc-with-roderick-angle/id1727438279 Watch: https://www.youtube.com/playlist?list=PL7_x00Dbn3ORngtNAnic4FcRQGTRmG7R2 Connect with Roderick Angle: https://www.bhsusa.com/real-estate-agent/roderick-angle Connect with Pat Irwin: https://patirwinmusic.com/ https://www.sussband.com/ https://www.instagram.com/patirwin100percent https://www.facebook.com/PatIrwinMusic Brown Harris Stevens is one of the largest privately owned real estate brokerages in the country, with more than 40 offices across four states: New York, New Jersey, Connecticut, and Florida. https://bhsusa.com/ #thebiglifenyc #roderickangle #archtiecture #NYChistory

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Julia Gorton is one of the great photographers who captured and documented the New York music scene of the late 70s and early 80s with Punk, New Wave and No Wave artists thriving in an amazing simultaneous world.  We discuss the music scene, fellow photographers, and much more.  Julia's recent (and fantastic) book Nowhere New … Continue reading "Episode 112: Julia Gorton (Music Photography)" The post Episode 112: Julia Gorton (Music Photography) first appeared on A Photojournalism Podcast for Everyone.

El primer tramo del episodio de hoy lo pasamos con un disco que ya podríamos considerar un clásico del garaje ibérico, sí es que existe algo como eso. “Vivir sin civilizar” se editó en 1992, el álbum de debut de unos jóvenes Doctor Explosion que acaba de ser reeditado con unos cuantos retoques y mejoras. Es la excusa perfecta para conseguir juntar a sus tres integrantes originales, Jorge, Felix y Varo, para que nos recuerden aquellos tiempos en primera persona. En el segundo tramo del episodio dejamos un pequeño homenaje para el fallecido James Chance, el gran icono de la No Wave neoyorquina.Playlist;DOCTOR EXPLOSION “Sigue siendo cruel” (Vivir sin civilizar)DOCTOR EXPLOSION “Vivir sin civilizar” (Vivir sin civilizar)DOCTOR EXPLOSION “Vende tu corazón” (Vivir sin civilizar)DOCTOR EXPLOSION “La esclava” (Vivir sin civilizar)DOCTOR EXPLOSION “Muévete en el tren” (Vivir sin civilizar)DOCTOR EXPLOSION “Ha ha ha” (Vivir sin civilizar)DOCTOR EXPLOSION “Las manos en el pantalón” (Vivir sin civilizar)JAMES CHANCE and THE CONTORTIONS “Contort yourself” (Buy, 1979)JAMES CHANCE and THE CONTORTIONS “Jailhouse rock (live 1978)”Versión y Original; ELVIS PRESLEY “Jailhouse rock” (1957)Escuchar audio

The month of March kicks off TNT's deep dive into our next record label, London's own Soul Jazz Records. To start this series off, Thanh + Tim are talking about a compilation that features no wave, post-punk, mutant disco, and avant-funk all in one! Contort yourself along with us as we dig into 2003's “New York Noise: Dance Music from the New York Underground 1978-1982.”

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/new-books-network

The cassette tape was revolutionary. Cheap, portable, and reusable, this small plastic rectangle changed music history. Make your own tapes! Trade them with friends! Tape over the ones you don't like! The cassette tape upended pop culture, creating movements and uniting communities. High Bias: The Distorted History of the Cassette Tape (UNC Press, 2023) charts the journey of the cassette from its invention in the early 1960s to its Walkman-led domination in the 1980s to decline at the birth of compact discs to resurgence among independent music makers. Scorned by the record industry for "killing music," the cassette tape rippled through scenes corporations couldn't control. For so many, tapes meant freedom--to create, to invent, to connect. Marc Masters introduces readers to the tape artists who thrive underground; concert tapers who trade bootlegs; mixtape makers who send messages with cassettes; tape hunters who rescue forgotten sounds; and today's labels, which reject streaming and sell music on cassette. Their stories celebrate the cassette tape as dangerous, vital, and radical. Marc Masters is a music journalist whose work has appeared on NPR and in the Washington Post, Pitchfork, Rolling Stone, and Bandcamp Daily. He is also the author of No Wave. Marc Masters 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/history

This week Josh and Drusilla are joined by writer Shawn C. Harris to discuss the James Bond III 90s vampire film, Def by Temptation (1990.) From wiki: “Def by Temptation is a 1990 American horror film that was written, produced, and directed by James Bond III; and stars Cynthia Bond, Kadeem Hardison, Samuel L. Jackson, and Bill Nunn.” The film takes place in New York City in 1990. Drusilla watched Celine and Julie Go Boating, Josh watched Killers of the Flower Moon, Shawn loves Blue Eyed Samurai, and Josh is loving The Curse. Also discussed: trans identity in period pieces, Troma films, Vegas in Space, Kadeem Hardison, Spike Lee, AIDs, Eazy-E, fashion, No Wave, Frank Capra, new jack swing, swing music, nut allergies, succubus movies, Demi Lovato, and more. NEXT WEEK: Hellraiser (1987)Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Bluesky: https://bsky.app/profile/joshuaconkel.bsky.socialInstagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel

Support Night Clerk Radio on Patreon We love the concept of lost media that never existed. In this episode, we're checking out two albums that present themselves as soundtracks or music to movies that never were. One album is the “restored” soundtrack to a lost horror movie, while the other skates by on a technicality because I love SWANS and never thought we would get to talk about them.Albums DiscussedThe Satan Complex by Gavino MorrettiSoundtracks For The Blind by SWANS CreditsMusic by: 2MelloArtwork by: Patsy McDowellRoss on TwitterBirk on TwitterNight Clerk Radio on Twitter

Host Nate Wilcox welcomes Eugene S. Robinson to discuss his new memoir "A Walk Across Dirty Water and Straight Into Murderer's Row" which covers his live during the period he went from dancing at Studio 54, playing saxophone in a New York no wave band to leading NorCal hardcore band Whipping Boy and that band's evolution into a post-hardcore noise rock band that would ultimately become Oxbow. Buy the book and support the show. CHECK OUT THE NEW LET IT ROLL WEB SITE -- We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please sign up for the email list on the site and get music essays from Nate as well as (eventually) transcriptions of every episode. Also if you can afford it please consider becoming a paid subscriber to support the show. Thanks! Have a question or a suggestion for a topic or person for Nate to interview? Email letitrollpodcast@gmail.com Follow us on Twitter. Follow us on Facebook. Let It Roll is proud to be part of Pantheon Podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this special episode, Mike spoke with underground filmmaker and No Wave founder Beth B about her career including her retrospective at the Metrograph as well as the upcoming Kino release of her films.Find out more at http://www.bethbproductions.com/Become a supporter of this podcast: https://www.spreaker.com/show/the-projection-booth-podcast_2/support.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5513239/advertisement