Podcasts about Pete Seeger

Understanding "Streets of Minneapolis"With Springsteen's latest single reaching #1 in 19 countries, we're witnessing a significant cultural moment. I'm proposing an exploration of the controversial, "Streets of Minneapolis"—examining it within a powerful American musical tradition that stretches back over eight decades.A Tradition of Musical CommentaryThis story begins in 1944, when Woody Guthrie (not Arlo—Woody was his father) wrote "This Land Is Your Land" as a response to Irving Berlin's "God Bless America." What seemed like competing patriotic songs represented something deeper: different visions of what it means to love your country. Berlin offered celebration; Guthrie offered reflection—including verses about inequality and hardship that rarely get sung today.Guthrie embraced a form of patriotism rooted in the Declaration of Independence—one that believes loving your country includes acknowledging where it falls short of its ideals. Writing during World War II and the aftermath of the Depression, Guthrie demonstrated how music could both honor and challenge the nation simultaneously.How Music Reaches Us DifferentlyThat approach influenced Pete Seeger, Joan Baez, and Bob Dylan—artists who discovered that songs could communicate social commentary to audiences who might not engage with traditional political discourse. A three-minute song on the radio could spark reflection in ways other media couldn't.Consider "Born in the U.S.A." How many of us have heard it as a celebration when Springsteen wrote it, in Guthrie's tradition, as a pointed critique of how America treats its veterans? Forty years later, it's still frequently misunderstood—even used at political rallies in ways that contradict its message. This pattern raises important questions about how we engage with art.When Music Captures a MomentIn 1970, after the Ohio National Guard killed four students at Kent State University, Neil Young wrote "Ohio" almost immediately. Released by Crosby, Stills, Nash & Young within weeks, the radio-friendly song brought that tragedy into millions of homes, forcing a national conversation.What "Streets of Minneapolis" Asks of Us"Streets of Minneapolis" follows in this tradition—echoing "Ohio" across five decades. Like those earlier songs, it's not primarily about comfort; it's about bearing witness and prompting reflection.The question worth considering: Will we engage with what the song is actually saying, or will it become another anthem whose meaning gets lost over time?An Invitation to Listen Thoughtfully. An opportunity to make your own decisions. This isn't about taking political sides. It's about recognizing a form of patriotism that asks something of us—the kind that believes loving your country includes honest examination of difficult moments.Hosts: Rick Galusha & Mike OlsonKate Smith / God Bless America (1939)Woody Guthrie / This Land is Your Land (1940) Carter Family / The World's On Fire (1925) Bruce Springsteen / Born in the USA (1984) [Nebraska] Neil Young / Ohio (1970) Bruce Springsteen / Streets of Minneapolis (2026) Norah Jones / American Anthem 

The Dylan Whisperer Rob Stoner and I have been in the same city, on the same street, in the same club where I was promoting and he was playing, at the same time, over and over, and somehow we never met. Until tonight. He was worth waiting for. What a fun edutainment! We talked about his heroes, Chuck Berry to Jerry Lee Lewis, Rob's famous photographer father, who, like Rob's later boss, Bob Dylan, used art to change our thinking, to his own early days playing with Pete Seeger and Tim Hardin. From high school bands playing keyboards, guitar, and then bass, great story there as to why he picked it up, to his first session with Pete Seeger, another important mind-shaper, to Tim Hardin, and Don Mclean, with his first ill-fated named first album, Tapestry, to his second album and the session which bore his first #1 hit, American Pie. Rob tells the tale, from soup to platinum single. The session with Robert Gordon and Link Wray, recording a not-yet-wildly famous Bruce Springsteen's first recording of his soon-to-be monster hit, Fire. Where a young Rob Stoner came up with the iconic bass line that Bruce would soon “borrow.” Rob had his own record deal in '73, meeting Dylan a year later, Bob telling Rob he'd come to call, and how Rob's band became the backup band for Dylan's album Desire when he finally did call about a decade later. Rolling Thunder, Rob, the musical director, for Dylan's long-held dream to put together a traveling carnival show. How it worked, all the moving parts, and the one erratic member. Dylan. Rob told us about their relationship, never knowing if this gig would be his last, and how, thanks to Robert Gordon (and Link Wray), whom Rob would play with for over 40 years, helped Rob to end it on his terms. We talked the pandemic and how Zoom changed the game for Rob (and me, and many of us), who grew his teaching practice and extended his reach globally. His daily Facebook videos, doing what he loves, playing music that he loves, which receive millions of views. A massive Dylan fan since the 60s and enthusiast of most of the artists Rob has played with, it was a thrill to get his take on the Complete Unknown, what it was like for Baez to play with Dylan, why Robert Gordon and Link Wray eventually split up… and so much more. Rob's been there, done that, and charmingly shares the tales. Loved every moment! Rob Stoner Live on Game Changers with Vicki Abelson Wednesday, 1/28/26, ***6 PM PT/ 9 PM ET*** Streamed Live on my FB, YouTube & LinkedIn

Pete Seeger treated music as a communal act—a circle, not a spotlight. In our newest episode, we explore how Pete braided together labor organizing, civil rights, environmental justice, and peace through song. From congressional blacklisting to union halls and river clean-ups, his legacy isn't frozen in time—it's instructional. Thank you to the Seeger family for sharing Pete's music with us for this episode. Other music by: Tolset Music and Black Trend Music.

This week on Labor History Today, we explore how the 1892 Homestead Strike continues to live on—not just in books and archives, but in film, music, and living memory. We begin with labor scholar and cultural critic Kathleen Newman, who takes us inside Ting Tong Chang's The Hidden Shift, a two-screen film installation at Pittsburgh's Mattress Factory. Inspired by the Homestead Strike, the piece layers a fictionalized labor drama with behind-the-scenes footage of museum workers making the work itself—blurring the lines between labor and culture, past and present. Kathleen reflects on Homestead as both a proud moment in worker history and a shameful chapter in corporate history, and connects the strike's legacy to today's service-sector workers—from museum staff to baristas—whose labor too often goes unseen. We close with music that has carried the story for more than a century. “Homestead Strike Song” turns the events of 1892 into a communal act of remembrance. In this 1980 recording, Pete Seeger sings the song, invites a singalong, and shares the story of how the song survived—passed down in halls and bars long after the strike itself was crushed. Together, these segments remind us that labor history isn't just remembered—it's made, performed, and sung. Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

Welcome to our first post-holiday post since mid-December. Here is our first-ever, back-to-back twin episode post featuring The Artists Index podcast host Scott Bishop's conversations with Maggi Kerr Peirce, the author of A Belfast Girl. HERE IS PART ONE: According to the Parkhurst Brothers Publishing website, she "...sang her native Irish ballads from the Newport Folk Festival to Puget Sound during the 1970s. She performed on many of the same stages as Pete Seeger, the Kingston Trio, and Peter, Paul, and Mary." She graced storytelling festivals from coast-to-coast with her Irish stories. The revered storyteller, a founder of the Tryworks Coffeehouse, a legendary and long-running (1967-2002) folk music and arts venue in New Bedford, Massachusetts, held at the First Unitarian Church. It was a vibrant community hub for the musicians, poets, and young people of the South Coast. Maggi has been featured at the National Storytelling Festival and received the National Storytelling Network (USA) Oracle Award for lifetime achievement. Scott Bishop spoke with her at her home in Fairhaven, Massachusetts. Maggi Peirce was 93 at the time of her passing in December 2024. She shared just some of her many memories, as well as her love of the Tryworks Coffeehouse, the South Coast, and so much more.   Maggi Kerr Peirce Fairhaven Massachusetts 02719   Email | Website | Facebook | Instagram | YouTube   PODCASTS ALSO AVAILABLE ON: YouTube WHILE YOU'RE HERE: Please consider donating whatever you can to ensure that our mission continues as we document the legacies of South Coast Artists. If you would like to be a guest on The Artists Index or have a suggestion, please let us know!  

Welcome to our first post-holiday post since mid-December. Here is our first-ever, back-to-back twin episode post featuring The Artists Index podcast host Scott Bishop's conversations with Maggi Kerr Peirce, the author of A Belfast Girl. HERE IS PART TWO: According to the Parkhurst Brothers Publishing website, she "...sang her native Irish ballads from the Newport Folk Festival to Puget Sound during the 1970s. She performed on many of the same stages as Pete Seeger, the Kingston Trio, and Peter, Paul, and Mary." She graced storytelling festivals from coast-to-coast with her Irish stories. The revered storyteller, a founder of the Tryworks Coffeehouse, a legendary and long-running (1967-2002) folk music and arts venue in New Bedford, Massachusetts, held at the First Unitarian Church. It was a vibrant community hub for the musicians, poets, and young people of the South Coast. Maggi has been featured at the National Storytelling Festival and received the National Storytelling Network (USA) Oracle Award for lifetime achievement. Scott Bishop spoke with her at her home in Fairhaven, Massachusetts. Maggi Peirce was 93 at the time of her passing in December 2024. She shared just some of her many memories, as well as her love of the Tryworks Coffeehouse, the South Coast, and so much more.   Maggi Kerr Peirce Fairhaven Massachusetts 02719   Email | Website | Facebook | Instagram | YouTube   PODCASTS ALSO AVAILABLE ON: YouTube WHILE YOU'RE HERE: Please consider donating whatever you can to ensure that our mission continues as we document the legacies of South Coast Artists. If you would like to be a guest on The Artists Index or have a suggestion, please let us know!  

Lee and Daniel talk about their favourite film from last year, Paul Thomas Anderson's "One Battle After Another" (2025). They also cover what else they've watched recently. Have a few small beers, join the revolution, and hear what they have to say about this series of moving pictures, you filthy semen demons. "One Battle After Another" IMDB  Lee on Bluesky, Instagram, and Letterboxd.    Listen to Daniel punch Nazis on the I Don't Speak German podcast. Catch Daniel on Bluesky and support his Patreon.    Featured Music: "The Revolution Will Not Be Televised" by Gil Scott-Heron & "We Shall Overcome" by Pete Seeger.

This week we get to visit again with legendary folk songwriters and musicians John McCutcheon and Tom Paxton about their second album together from their standing weekly songwriting collaboration. Together Again is available January 9, 2026 wherever you get your music and features a slew of delicious tunes and fantastic stories that will make you laugh and some that may even make you shed a tear. Have no fear though, our conversation is nothing but great times, good laughs, and amazing memories from these two friends who have helped shaped the fabric of great music for many decades. We touch on some familiar friends including Pete Seeger and get the scoop on some of the backstories of a few of the tracks on the latest album. It's always a delight talking to these two and to hear their music. If you leave with nothing else, you will realize the importance of having a standing date with a good friend and collaborator that nothing can interrupt at least one day per week is the true key to happiness and success! Follow Rock 'n' Roll Grad School on Social:FacebookInstagramYouTube

In this first episode of season 3 we go into depth in discussing the Seeger family's trip around the world, lasting from August, 1963 to early June 1964. We'll examine several of the performances Pete makes as he and the Seeger family make their geographical traverse through a dozen and a half countries, and will also discuss the wide variety of music and dance that the Seegers documented along the way. Get ready to hear about an often unspoken piece of Pete Seeger's musical and cultural work in the family's travels from Western Samoa, Australia and India to East Africa and West Africa, the Levant, western and central Europe, and eventually the USSR. We'll discuss the greater meaning of the work Pete and the Seeger family were doing, and in doing so, hopefully have a most holistic understanding of this under-researched period of Pete's Seeger work.

Welcome back to Scene Missing, the show where we dig past the highlight reels and get into the real story. This time, Gabriel Hardman, Ian Brill, and I take a hard, unsentimental look at the career of Burl Ives—a performer whose legacy is far bigger, messier, and more complicated than the warm baritone most people remember.We start with the role that earned him Hollywood's highest honor: his Oscar-winning turn as Rufus Hannassey in The Big Country, opposite Gregory Peck, Jean Simmons, and Charlton Heston—a performance that weaponized charm into something quietly menacing. From there, we contrast it with the brutal, snowbound moral reckoning of Day of the Outlaw, where Ives delivers one of the coldest outlaw portrayals ever put on film. We also explore his unexpected presence in prestige drama, including Cat on a Hot Tin Roof, sharing the screen with Paul Newman and Elizabeth Taylor, and how his earthy gravitas grounded Tennessee Williams' overheated world.On television, we revisit his folksy patriarch on O.K. Crackerby!, his later dramatic turn on The Bold Ones: The Lawyers, and how TV both extended and softened his public image. And yes—we absolutely talk about the role that permanently etched him into pop culture: the voice of Sam the Snowman in Rudolph the Red-Nosed Reindeer, a performance so comforting it practically erased the edge of the man behind it.But we don't stop at acting. Ives' massive influence as a folk singer is front and center—from “Blue Tail Fly” to “Big Rock Candy Mountain”—along with the career-altering moment that still sparks controversy: his testimony before the House Un-American Activities Committee, where he named names, including Pete Seeger, reshaping both of their legacies in opposite directions. This isn't a tribute. It's an honest conversation about talent, ambition, fear, and compromise—and how one man could be a beloved storyteller, a terrifying screen presence, and a cautionary tale all at once.

Remakes and Netflix specials are the taste of November 2025 - we review Nouvelle Vague (5:00), The Running Man (5:40), BUGONIA (7:10) and the movie it is based on, 2003's Save The Green Planet!, TRAIN DREAMS (13:45), SIRAT (18:00), Wake Up Dead Man: A Knives Out Mystery (22:22), Wicked For Good (25:10), Die My Love (26:10), Splitsville (28:53), Kill the Jockey (29:50), The Sea (30:30), Familiar Touch (32:00), Little Amelie (32:38). Plus those we recommend skipping: A Big Bold Beautiful Journey (33:00), Ballad of a Small Player (34:30), Americana (35:55). We drop a new segment - BLINDSPOT SWAP - and then close with Classics Corner (39:55): Extraordinary Stories and Yi Yi.SPOILERS for BUGONIA, TRAIN DREAMS and modestly for Sirat.Outre is (ONLY A EXCERPT, CULTURAL COMMENTARY USAGE) Where Have All the Flowers Gone, by Marlene Dietrich in 1962, composed by Pete Seeger in 1955.

In early August 2021, John McCutcheon reached out to his longtime friend Tom Paxton with a simple idea: why not use Zoom—a newly essential tool in those pandemic days—to connect, ease the isolation of COVID, and maybe write a few songs together?  That following Monday at 2:00 PM Eastern, they logged in. One Monday led to the next, and soon the weekly sessions became a ritual. More than four years later, they're still at it. Now comes Together Again another fourteen songs from two of the most revered songwriters in acoustic music. This time, things look a little different: at 88, Paxton has retired from the road, and McCutcheon, a spry 73, has scaled back his touring schedule. But both remain at the height of their creative powers. It's a rare and welcome thing to find them—Together Again.Please welcome folk legends TOM PAXTON and JOHN McCUTCHEON to Interviewing the Legends.PURCHASETHE NEW ALBUMBYTOM PAXTONANDJOHN McCUTCHEONentitled‘TOGETHER AGAIN'AVAILABLE AThttps://tompaxton.bandcamp.com/album/together"Listening to Together Again is like opening your favorite book — each song a new chapter, each track an incredible story that lingers long after the final note." 5 STARS! ... by music journalist Ray Shasho FOR MORE INFORMATIONABOUTTOM PAXTONVISIThttps://www.tompaxton.com/Official website https://www.facebook.com/TomPaxtonMusicFacebookhttps://tompaxton.bandcamp.com/Bandcamphttps://tompaxton.bandcamp.com/Apple FOR MORE INFORMATIONABOUTJOHN McCUTCHEONVISIThttps://www.folkmusic.com/Official websitehttps://www.facebook.com/people/John-McCutcheon/100063915871608/Facebookhttps://x.com/mccutcheonfolkTwitterSupport us on PayPal!

Who says taste can't evolve? This week, Andrew and Dr Sam go on a full-blown U-turn, confessing their love for bands they once treated with the kind of disdain normally reserved for traffic wardens and warm lager. Expect shocking revelations: Bonnie Tyler's absurdly overproduced 80s epic is now basically gospel. Cradle of Filth? Once unlistenable black metal, now "charmingly chaotic". The Beastie Boys go from party-clown pariahs to filth-toned bass gods. Deep Purple gets a love letter. And Split Enz? The band nobody asked for suddenly gets a sparkly redemption arc. Also: Finnish shopping centre linguistics How a Mercedes almost caused an international incident Traffic wardens, German police, and the time an entire road of cars vanished Folk music's stealthy mission to win your heart through Pete Seeger-related Stockholm syndrome Basically, it's the usual chaos with a theme loosely stuck on like a peeling gig poster on a damp venue wall. Stick around for ludicrous Hard-Ons album titles and an exploration of music that makes your genitals not catch fire (unlike Bonnie Tyler's). Riffs of the week Dr Sam's Riff: Gorilla Toss – Panglossian Mannequin Andrew's Riff: The Stone Roses – One Love Dr Sam's track choices: Bonnie Tyler – Holding Out for a Hero Cradle of Filth – Desire in Violent Overture (Remixed) Japan – The Art of Parties Hamish Imlach – Johnny O'Breadislee Andrew's track choices: Split Enz – I See Red Hard-Ons – Carrot Top Deep Purple – Speed King Beastie Boys – Gratitude

Reflecting upon this landmark recording made me realize how much Arlo and his song had been fundamental to my life-long, anti-authoritarian world view. And how, years later, when the war had escalated, and my turn came up for the draft, even though I escaped with a high lottery number, I was already weighing my draft dodging options. I was only 14 when the song was released, but it hipped me to the absurdity of the war in Viet Nam, the legal system, and petty bureaucrats in general. Arlo accomplished this “us against them” subversion with genial irony, which he delivered with an easy charm - not to mention an impressive Travis picking style.  It didn't hurt that he had the name recognition as the scion of the OG of poetical protest singers, Woody Guthrie, whose song “This Land is Your Land,” almost became our national anthem, and was the adopted relative of “uncle” Pete Seeger, whose signature sing-along method of inspiring social change, which Arlo employs so effectively here.  It was a cultural bombshell, and a first in many ways: At 18 minutes, FM radio usually played it in three separate parts making each rotation an event. It was the longest song to ever gain radio play when spun in its entirety. However, here at the Hotel Bohemia, time has no meaning, so it can be played all the way through on a continuous loop. 

As we did last Thanksgiving, this week we are giving thanks for labor songs and working music on the Heartland Labor Forum. Work songs would alleviate boredom and synchronize the work, while also providing important social commentary about working conditions and progressive ideals. We'll hear tracks from old favorites Pete Seeger and Anne Feeney, as well as some unexpected working music from Devo and Eddie Rabbit.

W latach 40 ubiegłego wieku, w Ameryce przyszła moda na muzykę folkową. Zaczęło się od zespołu The Weavers (pol. Tkacze), który w 1950 roku jako pierwszy w historii umieścił folkową piosenkę na pierwszym miesjcu listy Billboard. Wokół The Weavers powstało grono zespołów i, powiedzmy, bardów popularyzujących ludową muzykę Amerykanów. Moda rozwijała się nieśpiesznie, w obiegu kawiarnianym i uczelnianym. Do głównego nurtu z tego czasu przebili się w zasadzie tylko Odetta i Harry Belafonte. Zjawisko zostało nazwane American Folk Revival. Środowisko folkowców wywodziło się i działało głównie na uniwersytetach, było zdecydowanie lewicowe. Kiedy w latach 50' kraj ogarnęła fala makkartyzmu, folk trafił na cenzurowane, został zepchnięty do podziemia. Pete Seeger i Lee Hays z The Weavers stanęli nawet w 1955 przed Komisją Izby Reprezentantów ds. Działalności Antyamerykańskiej. Mimo to, jeszcze w tym samym roku właśnie Seeger z kolegami dali sygnał do rozpoczęcia drugiej fali odrodzenia folkowego. W wigilę bożego narodzenia The Weavers dali porywający koncert w Carnegie Hall. Wydany 2 lata później album z tego koncertu był jedną z najlepiej sprzedających się płyt roku. A w 1958 roku powstała grupa Kingston Trio, która zaczęła nagrywać covery piosenek Tkaczy. Ich płyty sprzedawały się rewelacyjnie. Posypały się nagrody. Odnieśli niesłychany sukces komercyjny. W ich ślady poszły inne zespoły, takie jak Peter Paul and Marry, The Chad Mitchel Trio, Brothers Four. Folk trafił na szczyt trafił i rozgościł się w głównym nurcie muzyki. Jeszcze w „kawiarnianych” czasach odrodzenia folkowego, młoda piosenkarka Niela Halleck (później po mężu Horn Miller) napisała i wykonywała piosenkę "Baby, Please Don't Go to Town". Rzecz o dziewczynie, która idzie się zabawić, a autorka ostrzega ją przed konsekwencjami. Niela spotykała się z muzykiem Billym Robertsem. Wkrótce Billy podczas swoich gigów zaczął wykonywać własną piosenkę - „Hey Joe”. Tu mamy historię wyraźnie nawiązującą do tekstu Nieli, z tym że historia jest już o chłopaku, który zabił dziewczynę przyłapaną na zabawie z innym. Ten sam tekst (no prawie) śpiewał Hendrix, ale melodia, aranżacja jeszcze żywo przypomina dzieło Nieli. Nie przeszkodziło to Billowi zarezerwować praw do piosenki. I do dzisiaj występuje jako autor. Neila dwukrotnie próbowała dochodzić swoich praw ale zrezygnowała. W międzyczasie pojawiali się jeszcze muzycy, którzy przedstawiali inne pochodzenie piosenki, inne źródła inspiracji (też oczywiście folkowe), czasem podawali się za autorów, ale wersja tutaj przedstawiona ma chyba ma najwięcej zwolenników. Muzycznie i tekstowo się broni. Hey Joe we wczesnych latach 60 był często grywany na klubowych scenach. To głównie za przyczyną Davida Crosbiego i The Byrds, którzy spopularyzowali piosenkę wśród muzyków zachodniego wybrzeża. Najbardziej znana była wersja zespołu The Leaves, przez dziewięć tygodni utrzymywała się na listach przebojów. Aż pojawił się młody czarnoskóry gitarzysta Jimmy Hendrix i wszystkie dotychczasowe wersje piosenki zepchnął na margines. Jego wersja Hey Joe była genialna, niepowtarzalna, wręcz ikoniczna, kto dziś pamięta o pozostałych. Audycja zawiera utwory: “Stairway To Heaven” (w tle), wyk. Soren Madsen muzyka: Jimmy Page “Baby, Please Don't Go to Town”, wyk. Niela Miller, słowa i muzyka: Niela Miller “Hey Joe”, wyk. Billy Roberts, słowa i muzyka: Billy Roberts „Hey Joe” wyk. The Jimi Hendrix Experience, słowa i muzyka: Billy Roberts „Norwegian Wood” (w tle) wyk. Herbie Hancock, muzyka: John Lennon, Paul McCartney „Norwegian Wood” wyk. Tim O'Brien, słowa i muzyka: John Lennon, Paul McCartney

On today's Labor Radio Podcast Daily: Art and Labor explores museums as both liberatory learning spaces and tools of empire. In labor history, 33 workers died when the Carl D. Bradley sank on Lake Michigan in 1958. Quote of the day: Pete Seeger. @wpfwdc @AFLCIO #1u #UnionStrong #LaborRadioPod Proud founding member of the Labor Radio Podcast Network

The Sunday after Magic Johnson announced his HIV-status, Jim Mitulski preached a sermon on being tired of people dying. We're sharing it as an interlude, a pause, and an immersion into one moment in AIDS' bleak midwinter.  For images and links about this episode visit https://www.heavenpodcast.org/interlude. In the sermon Rev. Mitulski refers to ARC. That means AIDS-Related Complex, a diagnostic category meant to indicate an earlier stage of HIV infection than AIDS. It was common in the period to hear references to both AIDS and ARC.  “Old Devil Time” is by Pete Seeger. The AIDS verses are by MCC San Francisco congregant Paul Francis.  You can see Magic Johnson's press release, announcing his HIV status here.  The biblical passage Rev. Mitulski is preaching on is John 11:1-44. Get more Outward with Slate Plus! Join for weekly bonus episodes of Outward and ad-free listening on all your favorite Slate podcasts. Subscribe from the Outward show page on Apple Podcasts or Spotify, or visit slate.com/outwardplus for access wherever you listen. When We All Get to Heaven is produced by Eureka Street Productions. It is co-created by Lynne Gerber, Siri Colom, and Ariana Nedelman. Our story editor is Sayre Quevedo. Our sound designer is David Herman. Our managing producer is Krissy Clark. Tim Dillinger is our consulting producer and Betsy Towner Levine is our fact-checker. We had additional story editing help from Sarah Ventre, Arwen Nicks, Allison Behringer, and Krissy Clark. For a complete list of credits, please visit https://www.heavenpodcast.org/credits. This project received generous support from individual donors, the Henry Luce Foundation (www.hluce.org), the E. Rhodes and Leona B. Carpenter Foundation, and California Humanities, a non-profit partner of the National Endowment for the Humanities (www.CalHum.org). Eureka Street Productions has 501c3 status through our fiscal sponsor FJC: A Foundation of Philanthropic Funds. The music for this episode is from the Metropolitan Community Church of San Francisco's archive. It was performed by MCC-SF's musicians and members with Bob Crocker and Jack Hoggatt-St.John as music directors. Additional music is by Domestic BGM.  Great thanks, as always, to the members and clergy of the Metropolitan Community Church of San Francisco who made this project possible.   Some links to good groups: AIDS Healthcare Foundation – provides medical care and support for people living with HIV/AIDS and preventative care for people at risk for contracting it.  The Magic Johnson Foundation – founded to address HIV/AIDS. Expanded to include education and community engagement.  San Francisco AIDS Foundation – a place to seek information about HIV.  POZ Magazine – a place to learn everything else about HIV (information included).Save AIDS Research – their recent, epic 24 hours to Save Research conference with all the latest HIV research is available on YouTube through this site. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Sunday after Magic Johnson announced his HIV-status, Jim Mitulski preached a sermon on being tired of people dying. We're sharing it as an interlude, a pause, and an immersion into one moment in AIDS' bleak midwinter.  For images and links about this episode visit https://www.heavenpodcast.org/interlude. In the sermon Rev. Mitulski refers to ARC. That means AIDS-Related Complex, a diagnostic category meant to indicate an earlier stage of HIV infection than AIDS. It was common in the period to hear references to both AIDS and ARC.  “Old Devil Time” is by Pete Seeger. The AIDS verses are by MCC San Francisco congregant Paul Francis.  You can see Magic Johnson's press release, announcing his HIV status here.  The biblical passage Rev. Mitulski is preaching on is John 11:1-44. Get more Outward with Slate Plus! Join for weekly bonus episodes of Outward and ad-free listening on all your favorite Slate podcasts. Subscribe from the Outward show page on Apple Podcasts or Spotify, or visit slate.com/outwardplus for access wherever you listen. When We All Get to Heaven is produced by Eureka Street Productions. It is co-created by Lynne Gerber, Siri Colom, and Ariana Nedelman. Our story editor is Sayre Quevedo. Our sound designer is David Herman. Our managing producer is Krissy Clark. Tim Dillinger is our consulting producer and Betsy Towner Levine is our fact-checker. We had additional story editing help from Sarah Ventre, Arwen Nicks, Allison Behringer, and Krissy Clark. For a complete list of credits, please visit https://www.heavenpodcast.org/credits. This project received generous support from individual donors, the Henry Luce Foundation (www.hluce.org), the E. Rhodes and Leona B. Carpenter Foundation, and California Humanities, a non-profit partner of the National Endowment for the Humanities (www.CalHum.org). Eureka Street Productions has 501c3 status through our fiscal sponsor FJC: A Foundation of Philanthropic Funds. The music for this episode is from the Metropolitan Community Church of San Francisco's archive. It was performed by MCC-SF's musicians and members with Bob Crocker and Jack Hoggatt-St.John as music directors. Additional music is by Domestic BGM.  Great thanks, as always, to the members and clergy of the Metropolitan Community Church of San Francisco who made this project possible.   Some links to good groups: AIDS Healthcare Foundation – provides medical care and support for people living with HIV/AIDS and preventative care for people at risk for contracting it.  The Magic Johnson Foundation – founded to address HIV/AIDS. Expanded to include education and community engagement.  San Francisco AIDS Foundation – a place to seek information about HIV.  POZ Magazine – a place to learn everything else about HIV (information included).Save AIDS Research – their recent, epic 24 hours to Save Research conference with all the latest HIV research is available on YouTube through this site. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Sunday after Magic Johnson announced his HIV-status, Jim Mitulski preached a sermon on being tired of people dying. We're sharing it as an interlude, a pause, and an immersion into one moment in AIDS' bleak midwinter.  For images and links about this episode visit https://www.heavenpodcast.org/interlude. In the sermon Rev. Mitulski refers to ARC. That means AIDS-Related Complex, a diagnostic category meant to indicate an earlier stage of HIV infection than AIDS. It was common in the period to hear references to both AIDS and ARC.  “Old Devil Time” is by Pete Seeger. The AIDS verses are by MCC San Francisco congregant Paul Francis.  You can see Magic Johnson's press release, announcing his HIV status here.  The biblical passage Rev. Mitulski is preaching on is John 11:1-44. Get more Outward with Slate Plus! Join for weekly bonus episodes of Outward and ad-free listening on all your favorite Slate podcasts. Subscribe from the Outward show page on Apple Podcasts or Spotify, or visit slate.com/outwardplus for access wherever you listen. When We All Get to Heaven is produced by Eureka Street Productions. It is co-created by Lynne Gerber, Siri Colom, and Ariana Nedelman. Our story editor is Sayre Quevedo. Our sound designer is David Herman. Our managing producer is Krissy Clark. Tim Dillinger is our consulting producer and Betsy Towner Levine is our fact-checker. We had additional story editing help from Sarah Ventre, Arwen Nicks, Allison Behringer, and Krissy Clark. For a complete list of credits, please visit https://www.heavenpodcast.org/credits. This project received generous support from individual donors, the Henry Luce Foundation (www.hluce.org), the E. Rhodes and Leona B. Carpenter Foundation, and California Humanities, a non-profit partner of the National Endowment for the Humanities (www.CalHum.org). Eureka Street Productions has 501c3 status through our fiscal sponsor FJC: A Foundation of Philanthropic Funds. The music for this episode is from the Metropolitan Community Church of San Francisco's archive. It was performed by MCC-SF's musicians and members with Bob Crocker and Jack Hoggatt-St.John as music directors. Additional music is by Domestic BGM.  Great thanks, as always, to the members and clergy of the Metropolitan Community Church of San Francisco who made this project possible.   Some links to good groups: AIDS Healthcare Foundation – provides medical care and support for people living with HIV/AIDS and preventative care for people at risk for contracting it.  The Magic Johnson Foundation – founded to address HIV/AIDS. Expanded to include education and community engagement.  San Francisco AIDS Foundation – a place to seek information about HIV.  POZ Magazine – a place to learn everything else about HIV (information included).Save AIDS Research – their recent, epic 24 hours to Save Research conference with all the latest HIV research is available on YouTube through this site. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode we 'll conclude our two-part feature with American traditional players, dance musicians and some songwriters, too. All of them have been influenced by players before them, whether through recordings, film or simply learning knee to knee. You will hear Rayna Gellert, Buddy MacMaster, Pete Seeger, Ola Belle Reed and others who have inspired today's young players. Passing the music on … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysRayna Gellert / “Sugar in the Gourd” / Ways of the World / Yodel-Ay-HeeMarcus Martin / “Jenny Run Away in the Mud in the Night” / When I Get My New House Done / University of North CarolinaDon Pedi / “Long Time Gone” / Short Time Here / Walnut MountainBruce Greene / “Sheep's in the Meadow and Cow's in the Corn / River of Time / Hellbendre PresseBruce Molsky / “Bury Me Not on the Lone Prairie” / Soon be Time / CompassBuddy MacMaster and Tracey Dares / “Captain O'Kane / The Juduque Flyer / Stephen MacDonald RroductionsOld New England / “President Clinton's Hornpipe-High C's-Kiss the Cook-President Garfield's Hornpipe” / Old New England / Great Meadow MusicRalph Blizard and the New Southern Ramblers / “Midnight on the Water” / Southern Ramble / RounderRayna Gellert / “Charleston #1” / Ways of the World / Yodell-Ay-HeeDave Fry / “Lessons from Pete” / Troubadour / Dave Fry MusicPete Seeger / “Old Devil Time” / Rainbow Race / ColumbiaNorman Blake / “Billy Gray” / Old & New / Flying FishOla Belle Reed / “High on a Mountain” / Ola Belle Reed / RounderBrian Miller / “The Shanty Boy's Alphabet” / Minnesota Lumberjack Songs / Two TapJohn Hartford / “Wolves A-Howling” / Hamilton Ironworks / RounderMike Seeger / “Roustabout” / Solo Old-Time Country Music / RounderPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Matteo Ceschi"Un'altra musica"L'America nelle canzoni di protestaMimesis Edizioniwww.mimesisedizioni.itCome si definisce una canzone di protesta? A partire da questo interrogativo, Matteo Ceschi decostruisce tre brani leggendari – This Land Is Your Land di Woody Guthrie, Blowin' in the Wind di Bob Dylan e Kick Out the Jams degli MC5 – per comprendere i processi che tramutano una canzone in inno generazionale e le dinamiche attraverso cui, nel corso dei decenni, diversi tipi di pubblico si appropriano di un brano per portare avanti le loro cause. Ad arricchire il testo, numerose interviste realizzate per l'occasione con alcuni autori e interpreti tra cui: Wayne Kramer (chitarrista e fondatore degli MC5), Jimmy Collier (folk singer allievo di Pete Seeger e Martin Luther King) e Joe McDonald (musicista country protagonista a Woodstock).Matteo Ceschi, storico, saggista e fotografo milanese. Collabora da anni con diverse riviste musicali. Ha pubblicato numerosi saggi dedicati alla controcultura statunitense. Come membro del f/50 The International Photography Collective unisce la sua passione per la storia con un'esplicita fotografia documentaristica in rigoroso bianco e nero.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Recently, Terre Haute, Indiana welcomed two of the nation's most prominent political figures — Senator Bernie Sanders and Representative Alexandria Ocasio-Cortez. Sanders visited the city to receive the Eugene V. Debs Award. WFYI's Kyle Long was on hand to capture the sounds, music, and speeches that defined the evening. Listen to Long's interview with Sanders, along with music from the Local Honeys; the Kentucky-based duo opened the ceremony with a set of old-time folk music.  Born in 1855, Eugene Debs was raised in Terre Haute, Indiana. Debs was a political activist, trade unionist, founding member of the Industrial Workers of the World, and a five-time Socialist Party presidential candidate. In 1962, the Debs Foundation was established in Terre Haute to preserve Debs' legacy. Since 1965, the foundation has presented the annual Eugene V. Debs Award to individuals and organizations whose work advances the causes of labor rights, peace, and human equality. Past recipients include Kurt Vonnegut, Coretta Scott King, Dolores Huerta, Howard Zinn, Pete Seeger, and Ralph Nader.

Springsteen: Deliver Me From Nowhere is one of the best depictions of the creative process that I've ever seen, exploring where an artist's ideas come from: those sources, personal and environmental that are processed via one's family history, dreams, desires - and are then delivered through said artist's private relationship with their tools - (in this case the Tascam Portastudio, Echoplex reverb unit, and a water-damaged boombox). I was thrilled by that examination, and by Bruce's steadfast protection of his lo-fi masterpiece when it was being threatened by corporate pressure to compromise. Jeremy Allen White is one of America's finest exemplars of smoldering emotion, and the close ups on Springsteen's anguished face were a tour de force of inner conflict. The protean Stephen Graham as Bruce's complicated monster of a father found vivid expression with just a smattering of dialogue. And, Jeremy Strong - an actor capable of the deepest levels of immersion portrays Bruce's guardian angel of a manager, Jon Landau with such grace, and generous restraint that it made me cry. Kudos to all.The pace is pokey, and I personally could have done without the manufactured love story in which the actress, Odessa Young has the unenviable task of having to deliver clunky exposition, notably when she psychologizes Bruce for us. But, all in all, for a story that chronicles depression and child abuse, the darkness is mitigated by the knowledge that our hero emerges from this crucible to become a happily married family man and cultural hero, and create a timeless work of art. The Splendid Bohemians are honored to feature a couple of tributes to The Boss, which recognize his influence and influences: First, a duet with Bruce and Pete Seeger, the Patron Saint and Johnny Appleseed of folk music, singing Bruce's still relevant- (sadly)- homage to John Steinbeck's The Grapes of Wrath: The Ghost of Tom Joad.  And, we'll close with Ryan Adams' honorable rendition of Nebraska, the title song from those sources which are celebrated in Warren Zanes book and Scott Cooper's film

This nation's troubled history with Manifest Destiny will continue to haunt us for some time. Throughout the decades some Native voices have emerged and contributed to the ongoing cultural conversation: most recently on the Broadway stage, on film, and television, and this awareness might move us towards some, if not restitution for atrocities past, at least a dialogue that might point the way towards the future.Today Double Trouble features the efforts of two important Americana artists, neither one Native American, but both identifying with them. Johnny Cash believed that he was part Cherokee- (a notion disproved by DNA). They both raised their voices in advocacy with the dispossessed. Pete La Farge wrote The Ballad of Ira Hayes, which Johnny Cash delivers here, and then Mr. La Farge himself mourns the disappearance of the Coyote as a consequence of Capitalism's rapacious destruction of sacred lands.JOHNNY CASHFrom his 1963 concept album “Bitter Tears: Ballads of the American Indian”, The Ballad of Ira Hayes tells the story of a WW2 War Hero, one of the men raising the flag over Iwo Jima in that iconic photo. Upon returning to the states, Ira had to confront the irony of his impossibly low status on home soil, and descended into alcohol addiction and death. Pete La Farge wrote 5 of the songs on Cash's album, and became known, along with Buffy St. Marie, as one of the most prominent singer-songwriters concerned with Native themes. Johnny Cash was a life-long representative of Native peoples, trying through his popular status to bring about an awareness of the wrongs that had been committed in the name of “progress”. PETE LA FARGEGiven the focus of his creative output during his short life - he died, age 34, of a stroke - one might assume that Mr. La Farge was Native American, but not so: he was the son of an anthropologist and Pulitzer Prize winning novelist and a Rhode Island heiress. Growing up in New Mexico and Colorado, he developed a love of Native American culture, and that became his artistic touchstone. Most famous for The Ballad of Ira Hayes, his tribute to a discarded, fallen hero, the song has been covered by Bob Dylan and Pete Seeger among many others. Here, in Coyote, La Farge channels the mournful sound of the dispossessed animal as it fades away into the ether, after losing its habitat to business interests - an issue we're still dealing with today. 

Seems like whenever musical history was made over the last sixty years, Joe Boyd was there. He produced Pink Floyd, Fairport Convention, Nick Drake, Richard Thompson, 10,000 Maniacs, Billy Bragg, and introduced startling world music to Western audiences, including Trio Bulgarka, Ivo Papasov, and Toumani Diabate. The founder of Hannibal Records, He's even the guy who refused to unplug Bob Dylan when Pete Seeger complained at the Newport Folk Festival. So what does he think about what's happened to music today?

Be Here Now under MAHARAJJI'S blanket as Baba Here Love, Goddess Sunshine, and Noah Hoffeld discuss Noah's personal retreats with Ram Dass, Noah's musical journey, helping others, balance, stepping back from the melodrama, and more. All of it is applied to our spiritual awakening happening NOW.“My life is a creative act--like a painting, or a concerto.” - Ram DassNoah Hoffeld bridges the worlds of creativity and spiritual practice as the cellist with Krishna Das and a devoted student of Ram Dass. This Juilliard-trained cellist and meditation teacher is known for his soulful playing and deep commitment to guiding others on the spiritual path.From 2016 until his teacher's passing, Noah was a personal student of Ram Dass, and while on retreat on Maui with RD in 2016, he met and played with world renowned chant singer Krishna Das, becoming a member of his band. Equally at home in concert halls and sacred spaces, Noah has been featured in performance with artists such as Pete Seeger and Natalie Merchant, on Grammy-winning and Billboard #1 albums like Piano Piano 2 by Jeremiah Fraites of the Lumineers, and in films like The Skeleton Twins with Bill Hader and Kristin Wiig. Personal projects include Bodhiheart: Love Rules with pianist Wells Hanley and Arjun Bruggeman and Mark Egan of KD's band, and Genoa Strings: KK's Theme with Genevieve Walker, violinist in the band. Their full EP will be released this winter. Noah's work as a producer includes the album Anubhav by Nina Rao, and his own LP of songs Mobile Home, coproduced with Mark Plati (Bowie, Prince, etc), called the "deeply spiritual album Bowie forgot to make" (JW Vibe). He produced Mantra Brothers' Invoke, a collaboration with his brother, artist Jeremy Hoffeld.Noah is dedicated to supporting seekers on their journey through mentoring and by sharing the wisdom of Ram Dass, along with the tools that help us truly be here now. His teaching weaves together Eastern wisdom traditions with practical approaches for modern life, whether you're new to spiritual practice or deepening an existing path. He works through workshops, one-on-one sessions and his online community, Living the Path, inviting connection with all who feel called to explore gateways to loving awareness.livingthepath.comnoahhoffeld.comFollow on IG and Youtube @ramdassloveHere we are!!!

The guitarist and vocalist Roger McGuinn is among the most critically acclaimed and influential American musicians. He was inducted into the Rock and Roll Hall of Fame in 1991 and in 2023 he was named one of the “250 Greatest Guitarist” by Rolling Stone magazine.   McGuinn is a co-founder of The Byrds and he's often associated with the West Coast rock scene of the 1960s. But McGuinn is a native of the Midwest and he grew up immersed in the vibrant folk music scene of Chicago during the 1950s. McGuinn began his career recording and performing with folk groups like The Limelighters and Chad Mitchell Trio.  McGuinn rose to national prominence in 1964 when he co-founded The Byrds with David Crosby and Gene Clark. McGuinn's 12 string Rickenbacker guitar was a defining element of the group's sound. The Byrds' 1965 version of Bob Dylan's “Mr. Tambourine Man” hit #1 on the American charts. That same year, their recording of Pete Seeger's “Turn, Turn, Turn” also hit #1, ushering in the folk-rock movement of the mid 1960s.   Over the next few years McGuinn continued to set new trends in rock music. The Byrds' 1966 single “Eight Miles High” brought psychedelic music to the pop charts, and their1968 album “Sweetheart of the Rodeo” sparked the development of country rock. The Byrds broke up in 1973, but McGuinn has continued to record and tour as a solo artist. McGuinn will bring his “Storied and Songs” tour to Carmel, Indiana's Tarkington Theatre on September 13.  In this conversation with WFYI's Kyle Long, McGuinn reflects on his roots in the Chicago folk scene.

I was on a plane recently watching the new Bob Dylan movie when a scene with Pete Seeger stopped me in my tracks. Why in the world would a folk singer be in court over a song? That moment opened up a hidden history I had never been taught: “This Land Is Your Land” wasn't just a patriotic anthem, it was a protest. And it made me start to see a bigger pattern. We do this all the time. We take prophets, revolutionaries, artists, even Jesus himself, and we sanitize them. We file down the edges until all that's left is a safe version that won't disrupt us. In this episode, I want to ask: what do we lose when we do that? And what might happen if we went searching for the verses, the voices, the truths that were cut out? If this episode meant something to you, I'd love it if you'd take a second to like, subscribe, and leave a review, it really helps more people find the show. If you would like to reach out to me you can drop me a line at clemenzwithaz@gmail.com or drop a DM at the clemenz with a "Z" instagram page.   You can head over to https://gofund.me/7ebb0524 every bit helps. And if you're looking for more reflection, honesty, and spiritual wrestling, check out my Substack: Devotionals for the Deconstructing & Disillusioned, it's a space for people who still have soul, but no longer fit in the boxes they were handed. Thanks for being here.

The world is spinning and it's hard to keep up with everything right now! Been out digging though, shopping and selecting a nice stack of favorites and obscurities the past month. Hope everyone is holding tight and not giving up! There are still paths to victory, don't let the naysayers stop any of us. Tracklist: Spanky Wilson, Irma Thomas, Nucleus, Osmar Milito, Natural Four, Freidrich Gulda, Janne Schaffer, Andrei Nikolsky, Pete Seeger.

The Mammals (Ruth Ungar and Mike Merenda, who also have a project called Mike & Ruthy) are a band from the Woodstock area with deep roots in the folk scene and traditions of the area, have worked with Arlo Guthrie, and Pete Seeger (amongst others), are critically acclaimed by LA Times, No Depression, NPR, PopMatters, and run the roots music festival called The Hoot. We talk with them about gratitude for the ability to create art and music, having faith in the low moments, being links in the (musical) chain, square dancing, and a whole lot more.Get more access and support this show by subscribing to our Patreon, right here.Links:The MammalsThe HootThe Ashokan CenterArlo GuthrieUtah PhillipsAni DifrancoWoody GuthrieEric WardWestern State CenterKen Burns Civil WarJay UngarDaniel QuinnClick here to watch this conversation on YouTube.Social Media:The Other 22 Hours InstagramThe Other 22 Hours TikTokMichaela Anne InstagramAaron Shafer-Haiss InstagramAll music written, performed, and produced by Aaron Shafer-Haiss. Become a subscribing member on our Patreon to gain more inside access including exclusive content, workshops, the chance to have your questions answered by our upcoming guests, and more.

In honor of Labor Day I've collected some rare and some better-known songs about the labor struggle. Today many of us take for granted the great strides made by the labor movement to give us so many of the benefits we take for granted. We'll hear music from Pete Seeger, Woody Guthrie, Utah Philips, Maria Dunn and many more. We'll celebrate the true meaning of the end of summer holiday … this week on The Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian FolkwaysJody Kruskal & Luke Richardson / “Waiting for the Boatsman” / Waiting for the Boatsman / JKMMerle Travis / “Sixteen Tons” / Folksongs of the Hills / CapitolJim Kweskin & Geoff Muldaur / “Down on Penny's Farm” / Penny's Farm / KingswoodDan Schatz / “Gone Gonna Rise Again” / The Promise of Sowing / Folk LegacyPete Sutherland / “Coleman's March-Shacks and Chalets” / Poor Man's Dream / EpactPete Seeger and the Hooteneers / “All I Want is Union” / Sing Out! Hootenanny / Smithsonian- FolkwaysUtah Phillips et al / “Power to the Union” / IWW Rebel Voices / Flying FishSeattle Labor Chorus / “Hail-A-Union” / Songs of Working People / Self-producedJody Kruskal & Luke Richardson / “Cluck Old Hen” / Waiting for the Boatsman / JKMWoody Guthrie / “!913 Massacre” / Protest! / ViperCraig Johnson / “Piney Mountains” / Away Down the Road / 5-StringCincinnati's University Singers / “The Future America” / The Hand that Holds the Bread / New WorldUncle George Jones / “This What the Union Done” / Songs and Ballads of the Bituminous Miners / RounderJohn McCutcheon / “The Young Ones Don't Remember” / Gonna Rise Again / RounderMaria Dunn / “Blue Lung” / Piece by Piece / Self-producedPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways

Bioptimizers https://Bioptimizers.com/toddEnter promo code TODD to get 15% off your order of Berberine Breakthrough today.Bizable https://GoBizable.comUntie your business exposure from your personal exposure with BiZABLE.  Schedule your FREE consultation at GoBizAble.com today. Angel Studios https://Angel.com/ToddJoin the Angel Guild today and stream Testament, a powerful new series featuring the retelling of the book of Acts. Renue Healthcare https://Renue.Healthcare/ToddRegister today to Join the Renue Healthcare Webinar Thursday September 11th at 11:00 PST.  Visit https://joinstemcelltalks.com or call 602-428-4000.  Bulwark Capital https://KnowYourRiskPodcast.comBe confident in your portfolio with Bulwark! Schedule your free Know Your Risk Portfolio review. Go to KnowYourRiskPodcast.com today. Alan's Soaps https://www.AlansArtisanSoaps.comUse coupon code TODD to save an additional 10% off the bundle price.Bonefrog https://BonefrogCoffee.com/toddThe new GOLDEN AGE is here!  Use code TODD at checkout to receive 10% off your first purchase and 15% on subscriptions.LISTEN and SUBSCRIBE at:The Todd Herman Show - Podcast - Apple PodcastsThe Todd Herman Show | Podcast on SpotifyWATCH and SUBSCRIBE at: Todd Herman - The Todd Herman Show - YouTubeIf you took a look back at this time a decade from now, what would hindsight reveal? Episode Links:Chicago Mayor Brandon Johnson says arresting violent criminals DOES NOT reduce crime: “It is racist! It is immoral! It is unholy!”"I just found out I'm being oppressed. I saw it on CNN, a white lady said it... Nobody knows blacks struggle like white women. And I thought I was having a good life until I got basic cable."Understanding history means confronting uncomfortable truths, not rewriting them.This Hispanic girl can't read or write but yet graduated high school with honors and got into UCONN.  How did she do it?  The school manufactured her grades and had her sit in a corner all day because they felt bad for the “poor brown girl” and the college ignored any admissions requirements.  Now she's suing them for depriving her of an education.  Do liberals realize that they're the actual racist?JUST IN: A federal judge has blocked Secretary Noem's move to terminate temporary status for Nicaragua, Honduran and Nepaii immigrants, finding the cancelation was likely rooted in "racial animus."Americans spontaneously take a UK couple on a boat ride.The Truth About Bob Dylan's Falling Out with Pete Seeger; The '60s folk singers didn't hate Dylan because he went electric, as ‘A Complete Unknown' suggests. It was because he didn't care about their lefty politics.

What can a lifetime of storytelling teach us about unity, socialchange, and spiritual growth? In this week's The No BS Spiritual Book Club, Sandie Sedgbeer talks with Robert Atkinson—developmental psychologist, storyteller, and author—about the mentors, books, and experiences that shaped his personal and professional journey. He reflects on the influence of Joseph Campbell, Pete Seeger, Walt Whitman, Henry David Thoreau, and Kahlil Gibran, along with his own commitment to life story interviewing, authenticity, and unity consciousness. Through stories of mentorship, transformative books, and his own work in social change, Robert reveals how storytelling can be a bridge between personal growth and collective evolution. **Guest:** Robert AtkinsonWebsite: https://www.robertatkinson.net/

Aufbruch. Die Nase in den Wind, das Studium schmeißen und einfach mal los – nach Wien. Davon singt David Lübke in seinem gerade veröffentlichten Lied „Unterwegs nach Wien“. Im Winter kommt das neue Album und über die Arbeit daran spricht er heute schon auf radioeins im studioeins! Ein moderner Troubadour ist David Lübke und zieht mit Gitarre und Banjo durch die Lande, um seine Geschichten zu erzählen. Das beinhaltet tatsächlich auch das spontane Liedermachen vor der ein oder anderen Haustür. Mit seinen kleinen Alltagsgeschichten über beispielsweise die Sehnsucht oder auch die tatsächliche Handlung nach Wien zu reisen, wird er zu einem gesellschaftlichen Chronisten mit Vorbildern wie Joni Mitchell, Pete Seeger, Joan Baez, Bob Dylan oder Cat Stevens. Sein drittes Album „Wo der Mond die Erde küsst“ wird im November erscheinen und mit gewisser Alltagsromantik die „sensible Magie zwischen Tag und Nacht, zwischen Alltag und Träumerei“ hervorheben – und es wird wohl voraussichtlich eine große Freude sein!

This week on Labor History Today, we bring you a special episode celebrating folk legend Pete Seeger. In the first episode of A Weekend With Pete Seeger, recorded in 1999, Seeger sings, plays banjo, and shares stories of a lifetime fighting for labor rights, peace, and the environment. Captured just before his 80th birthday, these intimate conversations—long tucked away—bring Seeger's voice and spirit vividly to life. Our thanks and appreciation to Jean-Claude Kuner and Claus Vittus, who created the 5-episode Pete Seeger podcast for the Tønder Festival, an annual folk music festival in Tønder, Denmark.    Questions, comments, or suggestions are welcome, and to find out how you can be a part of Labor History Today, email us at LaborHistoryToday@gmail.com Labor History Today is produced by the Labor Heritage Foundation and the Kalmanovitz Initiative for Labor and the Working Poor. #LaborRadioPod #History #WorkingClass #ClassStruggle @GeorgetownKILWP #LaborHistory @UMDMLA @ILLaborHistory @AFLCIO @StrikeHistory #LaborHistory @wrkclasshistory  

Book Vs. Movie: “Alice's Restaurant” Arlo Guthrie's 1967 18-minute Song Vs the 1969 MovieArlo Guthrie's “Alice's Restaurant” is an 18-minute satirical folk monologue and song that became an anthem for the 1960s counterculture. Officially titled “Alice's Restaurant Massacree,” it was released in 1967 on his debut album.  The piece tells a true, albeit embellished, story from Thanksgiving 1965 about a littering arrest that prevented Guthrie from being drafted into the Vietnam War. Blending comedy and protest, the song critiques authority and the military draft system, recounting how disposing of garbage with a friend led to an arrest, which ironically disqualified him from military service.In this episode, the Margos discuss:The career of Arlo GuthrieThe story behind the songThe differences between the song & movie. The cast includes: Arlo Guthrie (as himself), Pat Quinn (Alice Brock), James Broderick (Ray Brock), Pete Seeger (as himself), Joseph Boley (Woody Guthrie), M. Emmet Walsh (Group W Sergeant.) Clips Featured:“The Town Dump”Alice's Restaurant (1969 trailer)“The Wedding Scene”“Pete Seeger and Woody Guthrie"“The Funeral Scene” (Songs to Aging Children by Joni Mitchell sung by Tigger Outlaw)Music by Arlo GuthrieFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: “Alice's Restaurant” Arlo Guthrie's 1967 18-minute Song Vs the 1969 MovieArlo Guthrie's “Alice's Restaurant” is an 18-minute satirical folk monologue and song that became an anthem for the 1960s counterculture. Officially titled “Alice's Restaurant Massacree,” it was released in 1967 on his debut album.  The piece tells a true, albeit embellished, story from Thanksgiving 1965 about a littering arrest that prevented Guthrie from being drafted into the Vietnam War. Blending comedy and protest, the song critiques authority and the military draft system, recounting how disposing of garbage with a friend led to an arrest, which ironically disqualified him from military service.In this episode, the Margos discuss:The career of Arlo GuthrieThe story behind the songThe differences between the song & movie. The cast includes: Arlo Guthrie (as himself), Pat Quinn (Alice Brock), James Broderick (Ray Brock), Pete Seeger (as himself), Joseph Boley (Woody Guthrie), M. Emmet Walsh (Group W Sergeant.) Clips Featured:“The Town Dump”Alice's Restaurant (1969 trailer)“The Wedding Scene”“Pete Seeger and Woody Guthrie"“The Funeral Scene” (Songs to Aging Children by Joni Mitchell sung by Tigger Outlaw)Music by Arlo GuthrieFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

We're celebrating our 10th anniversary all year by digging in the vaults to re-present classic episodes with fresh commentary. Today, we're revisiting our 2021 conversation with Ani DiFranco. ABOUT ANI DIFRANCOSinger, songwriter, musician, producer, poet, author, spoken-word artist, activist and entrepreneur Ani DiFranco has released more than 20 independent studio albums on her own label, Righteous Babe Records. Though often classified as “alternative folk,” DiFranco's musical influences span a range of genres. After relentless touring, she reached a wide commercial audience in the late 1990s and early 2000s with albums such as Little Plastic Castle, Up Up Up Up Up Up, Revelling/Reckoning, Evolve, Educated Guess, and the gold-certified live album Living in Clip. The Grammy winner and nine-time nominee achieved her sole Top 40 hit as a songwriter when Alana Davis covered the DiFranco classic “32 Flavors” in 1997. The prolific and critically-acclaimed performer developed her own uniquely percussive guitar style and has collaborated with a range of artists, including Bon Iver's Justin Vernon, Bruce Cockburn, Pete Seeger, Utah Phillips, Maceo Parker, and Prince. In addition to releasing her own music, her label has issued recordings by Sara Lee, Andrew Bird, Nona Hendryx, and others. Ani was one of the first musicians to receive the Woman of Courage Award from the National Organization for Women, and was honored with both the Woody Guthrie Award and the Southern Center For Human Rights' Human Rights Award. Her memoir, No Walls and the Recurring Dream, was released in 2019 by Viking Books. At the time we spoke with her, the New Orleans-based DiFranco's 2021 album, Revolutionary Love, was just about to be released. 

Send us a textBy any normal measure, John McCutcheon, at age seventy-two, should beretired. He's punched the clock in the international folk music world for overa half century. He's been a respected archivist of Appalachian music. Hewas in the forefront of popularizing the hammer dulcimer and is considereda world master on the instrument. He helped revolutionize children's andfamily music with five consecutive Grammy-nominated albums. He co-founded and led the fastest-growing Local in the Musicians Union. Hissongwriting is hailed around the globe and his instruction books introducedthousands to the joys of their own music making. He recorded andreleased tribute albums to Woody Guthrie, labor musician Joe Hill, and hisfriend and mentor, Pete Seeger. He even starred in a one-manmusical, Joe Hill's Last Will, which toured nationally and internationally.And he has consistently been one of the most popular touring musicians inthe folk world. Yes, by any normal standard, he could proudly hang up thebanjo and retire.But John McCutcheon is just getting started.“I feel as though I'm finally getting the hang of doing my job well.”During the pandemic, when a lot of the music world shut down,McCutcheon wrote and released three recordings of new material. Heproved that Zoom could be used for good as well as for evil by forgingonline songwriting partnerships with a half dozen fellow writers, not theleast of whom was the iconic Tom Paxton. They even released a jointalbum, Together, which not only won critical raves but was dubbed “thebest album I've ever done, period.” by Grammy Lifetime Award winnerPaxton.And, just when you think he can't surprise you anymore, he drops album#45: Field of Stars (release date: Janary 10, 2025), a stunning collectionof original and cowritten songs people are calling “the best of his career.”Field of Stars was supposed to be recorded and released in 2020.Musicians were hired, studio dates booked. And then came COVID. So,the songs where shelved until it was safe to go into a small windowlessspace with some of your best mates. But then came the explosion ofwriting that John produced during the lockdown. Three albums in threeyears, each seemingly better than the last. After tackling theMcCutcheon/Paxton project, he was ready to take the long-delayed 2020album down from the shelf and get back to work on it. But t Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Support the showVisit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodRedbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate to New Normal Rep here! Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order!

Bruce Springsteen has never shied away from expressing his political views. And he's not gonna back down now.“In my home, the America I love. The America I've written about. That has been a beacon of hope and liberty for 250 years, is currently in the hands of a corrupt, incompetent, and treasonous administration,” he told a crowd at a concert in Europe, in May. Donald Trump responded over Truth Social, calling him a “pushy, obnoxious jerk” and a “dried out ‘prune' of a rocker.”In dark times, music and song gives us hope. Bruce Springsteen, like Pete Seeger, Bob Dylan, or Woody Guthrie, is one of those musicians who has often led the way with songs for the downtrodden. Songs for the working class, for hardworking Americans, for immigrants. For justice and freedom. And other famous rock idols have got the Boss's back.This is episode 47 of Stories of Resistance—a podcast co-produced by The Real News and Global Exchange. Independent investigative journalism, supported by Global Exchange's Human Rights in Action program. Each week, we'll bring you stories of resistance like this. Inspiration for dark times.If you like what you hear, please subscribe, like, share, comment, or leave a review. And please consider signing up for the Stories of Resistance podcast feed, either in Spotify, Apple Podcasts, Spreaker, or wherever you listen.Visit patreon.com/mfox for exclusive pictures, to follow Michael Fox's reporting and to support his work. Written and produced by Michael Fox.ResourcesClip of Bruce Springsteen criticizing Trump/Bruce Springsteen critica a Trump: “En mi país se ponen del lado de los dictadores”: https://www.youtube.com/watch?v=W2bT24hOXcQHere is the link to Bruce Springsteen's latest album, “Land of Hope and Dreams”: https://open.spotify.com/album/1wWm7MPHSIpBX7Wiw8LAAq“Eddie Denounces Trump's Policies & Backs Springsteen & Rockin”: https://www.youtube.com/watch?v=uxZIVAkrq0QTom Morello - 11 The Ghost of Tom Joad - Boston Calling May 25th 2025: https://www.youtube.com/watch?v=WGkwcO8sZnsRyan Harvey's Old Man Trump (ft. Ani DiFranco & Tom Morello): https://www.youtube.com/watch?v=TmZnlGBhwKgYou can hear more from Ryan Harvey here: https://open.spotify.com/artist/1bdxYCSsYEJga10wHzcqeuYou can subscribe to David Rovics's newsletter and hear his most recent songs at  https://www.davidrovics.com/Subscribe to Stories of Resistance podcast hereBecome a member and join the Stories of Resistance Supporters Club today!Sign up for our newsletterFollow us on BlueskyLike us on FacebookFollow us on TwitterDonate to support this podcast

In this episode of Prisoners of Rock and Roll, we're looking at the clash between music and The Man diving into times when the FBI investigated musicians. In 1956, J. Edgar Hoover's FBI created a covert and legally questionable program called COINTELPRO with the goal of disrupting groups that the Feds considered to be subversive – communists, black nationalists, feminists, anti Vietnam protestors, civil rights activists.  Considering the role that music played in the 60s and 70s, it was only a matter of time before the FBI started investigating rock and roll. Some of the stories are silly. Picture this, it's 1963 and a bunch of FBI agents are hunched over a record player listening to Louie Louie over and over – forwards and backwards – desperately searching for dirty lyrics that didn't exist.  And others are more serious. In 1972, the FBI put John Lenon under surveillance and wiretapped his phone because President Nixon was afraid that his stance on the Vietnam War would influence young voters. The government started proceedings to deport him.  Over the decades, the FBI has investigated or kept tabs on all sorts of musicians. Jimi Hendrix and Jim Morrison; folk singers Pete Seeger and Woodie Guthrie; Aretha Franklin, the Monkees, NWA, Charles Mingus, the Insane Clown Posse, and more. There's a lot of ground to cover in this one, but we're up for the challenge. Let's hit it. Episode Playlist Check out our episode playlist ⁠⁠⁠⁠here⁠⁠⁠⁠. Get In Touch Check us out ⁠⁠⁠⁠online⁠⁠⁠⁠, on⁠⁠⁠⁠ Facebook⁠⁠⁠⁠, ⁠⁠⁠⁠Twitter⁠⁠⁠⁠, or ⁠⁠⁠⁠YouTube.⁠⁠⁠⁠ or drops us an email at ⁠⁠⁠⁠show@prisonersofrockandroll.com⁠⁠⁠⁠. Or if you're in Philadelphia, come visit our home base at ⁠⁠⁠⁠McCusker's Tavern⁠⁠⁠⁠. Prisoners of Rock and Roll is part of ⁠⁠⁠⁠Pantheon Media⁠⁠⁠⁠. We're sponsored by⁠⁠⁠⁠ Boldfoot Socks⁠⁠⁠⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

What a dangerous time we live in when the President personally attacks artists for speaking against America's current fascist regime. The Boss (Bruce Springsteen) spoke truth to power at a recent London show while Taylor Swift weathered another round of the President's weird obsession with her. Tawny and Lisa talk about why they love both artists and how their music has impacted their recoveries. They discuss everything from Ryan Adams covering 1989 to Springsteen's inspiration from Woody Guthrie and Pete Seeger. And shout out to Neil Young, Eddie Vedder, Jack Antonoff, and all the artists out there speaking up! Music Minute features both artists! Check out Swift Steps  Order The Sobriety Deck  Listen to The Sobriety Deck Playlist by Hannah Gardner Sign up for Tawny's Writing Classes Order Tawny's book, DRY HUMPING: A Guide to Dating, Relating, and Hooking Up Without the Booze Subscribe to Tawny's newsletter  "Beyond Liquid Courage" Order Tawny's new NA drink, (parentheses) Purchase Lisa's memoir, Girl Walks Out of a Bar    

Five years ago, I awoke to the horrifying news of the murder of George Floyd by a member of the Minneapolis Police Department. I had been working on cobbling together an episode on French Glamour, which quickly gave way instead to an impromptu episode of protest music through the ages which remains one of the Countermelody episodes of which I am most proud. Yesterday was the five-year commemoration of that horrific event, which sparked worldwide protests and which, for a while, seemed as if it might lead to systemic change. Five years later, we find ourselves in a true global nightmare. Almost everything that has changed has been for the worse, but my feelings about the system that has produced such calamity remains exactly the same as it has always been. For that reason, I am republishing that episode from five long years ago, in which I sought to “defer to those on the front lines to speak of their own experience and truth” in a program of protest music from the early twentieth century to the recent past. Nina Simone's song of rage “Mississippi Goddam” was a guiding force as I put the episode together, but we hear from a wide range of singers, from Donny Hathaway, Micki Grant, Pete Seeger, Mahalia Jackson, Odetta, Billie Holiday, Aretha Franklin, to Joan Baez, Cher, Barbra Streisand, Paul Robeson, and Marlene Dietrich. If you don't want to hear a political program, for goddess's sake, keep away, but if you do want to be infuriated, engaged, and ultimately uplifted, please listen in. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Over the last 5 years, we have had the privilege of bringing you stories of Pioneering musicians such as Bill Monroe, Sam Cooke, Johnny Cash, Lead Belly, Dolly Parton, Sister Rosetta Tharpe, Pete Seeger, Jean Ritchie and so many more.However, a recently shift was forced upon the American Songcatcher program. Our distributor, Spotify for Podcasters/Creators, has taken down 1/4 of our episodes on all platforms, with more likely to follow, as they have began to crack down on the rights and usage of songs. Although this program is strictly education-based, and we don't sell products or produce any notable revenue from these episodes, they don't see what we do as fair use. It's a big blow, as over a year's worth of our work is now gone from the convenient places to listen to them.And so, our standstill for the last 5 months has been one of great pondering, and a lot of work with our nonprofit ReString Appalachia, where we have just surpassed 700 instruments given to those who had them taken away from natural disasters. It's been decided that from now on, American Songcatcher will strictly focus on traditional song history, field recordings, and interviews. We embrace our new direction, and we hope you will too. All of the episodes will be available on our website, AmericanSongcatcher.com in the next month. We'll be back with some new content soon, thank you for your patience, see you next time on American Songcatcher.__Support Educational Programming:⁠Tax-Exempt Donations⁠Join the⁠ Patreon Community⁠One-time donations:⁠ Venmo⁠ or⁠ PayPal⁠Follow ⁠American Songcatcher⁠ on ⁠Instagram⁠ Credits: Nicholas Edward Williams - Production, editing, recording and distribution

Legendary singer-songwriter Suzanne Vega looks back at her remarkable career — and forward to her new album, Flying with Angels, her first collection of original songs in nearly a decade. From the moment she emerged in the 1980s with her self-titled debut and follow-up Solitude Standing, Vega has occupied a singular space in popular music. Known for her literate lyrics, calm delivery, and understated innovation, she became an unlikely pop star with songs like “Luka” — a devastating portrait of abuse — and “Tom's Diner,” which began as an a cappella sketch and became a surprise dance hit, later used in the development of the MP3 format. Vega discusses how those early hits shaped her identity, and how she's maintained a relationship with her past work while continuing to evolve as an artist. She shares stories behind her biggest songs, her longtime collaborations (including with producer and ex-husband Mitchell Froom), and her connection to a vibrant downtown New York songwriting community that included figures like Jack Hardy and Fast Folk magazine. She also reflects on the new material, including the haunting “Mariaupol,” inspired by the war in Ukraine, and “Rats,” inspired during the lockdown in New York. These songs mark a subtle shift for Vega: from her usual allegorical storytelling to more direct commentary and bearing witness to events in real time. Along the way, the conversation touches on Lou Reed, Leonard Cohen, Bob Dylan, motherhood, stagecraft, artistic responsibility, and the strange alchemy of simplicity and resonance. Vega shares anecdotes from her life on tour, her early performances (including a childhood appearance at Pete Seeger's feet), and her unexpected intersections with technology and culture. www.third-story.com www.leosidran.substack.com www.wbgo.org/podcast/the-third-story

Folk musician. Banjo player. Singer of songs of unity. He sang songs of joy. He sang for the unions. He sang for the people. For the workers and the downtrodden. He sang songs for change. Civil Rights songs. Folk songs. Despite the Red Scare and McCarthy's witch hunt, Pete Seeger sang on, helping to inspire the folk music revival of the 1950s and 1960s. And he would continue to sing and play throughout his life.Pete Seeger died at the age of 94, in 2014.This is episode 28 of Stories of Resistance — a podcast co-produced by The Real News and Global Exchange. Independent investigative journalism, supported by Global Exchange's Human Rights in Action program. Each week, we'll bring you stories of resistance like this. Inspiration for dark times. If you like what you hear, please subscribe, like, share, comment, or leave a review. You can also follow Michael's reporting and support at patreon.com/mfox. Written and produced by Michael Fox.Here is a great 2007 PBS documentary about Pete Seeger's life. It's called "The Power of Song.” https://www.youtube.com/watch?v=Czk2hj4VISgSubscribe to Stories of Resistance podcast hereBecome a member and join the Stories of Resistance Supporters Club today!Sign up for our newsletterFollow us on BlueskyLike us on FacebookFollow us on TwitterDonate to support this podcast

We're hearing a lot about diversity and inclusion these days (which is great!) but as we'll learn in this episode, those two words and what they stand for are at the very core of what guided the earliest days of Newport Folk and Jazz over sixty years ago, continuing to this day. And as we know, there is still much work to be done to make our world a just and equal place. Listen in as the women of Our Native Daughters share the experience of their powerful performance at Newport in 2019, their mission of amplifying the perspectives of Black American women from the time of slavery through the present, and discuss the ongoing need for better representation across genres - in particular Americana and Country - that have their roots in the black community, and at events like Newport Folk. Amplifying women's voices, and women of color, is an important part of this conversation, too, and Yola speaks on the importance of The Highwomen's debut at Newport Folk and Brandi Carlile's all female headlining set, as well as her own sense of purpose in occupying and owning space in what is currently an overwhelmingly white genre. We dive into the history of Newport and why the insistence racial equality and diversity of its lineups was an especially personal mission of George Wein's - one that he carried to New Orleans when creating Jazz Fest alongside the parents of Preservation Hall's Ben Jaffe. and how that festival in turn helped to integrate New Orleans. And Colin Meloy and Judy Collins join us to talk about folk music's history as a tool for organizing and empowering the disenfranchised, especially through the voice of Pete Seeger. The fight continues to surround hate and force it to surrender. Festival Circuit: Newport Folk is presented by Osiris Media, and hosted by Carmel Holt. It is co-written, co-produced and edited by Carmel and Julian Booker, who is also the series' audio engineer. Production assistance from Zach Brogan. Executive producers are RJ Bee and Christina Collins. Show Logo and art by Mark Dowd.  The series theme music is "Ruminations Pt. 3 (Afternoon Haze)" by Steven Warwick. Thanks to Billy Glassner of the Newport Festivals Foundation for providing archival audio. Additional archival audio provided by the Alan Lomax Collection at the American Folklife Center, Library of Congress, courtesy of the Association for Cultural Equity. And many thanks to our folk family guests Amythyst Kiah, George Wein, Ben Jaffe, Bob Boilen, Leyla McCalla, Rhiannon Giddens, Allison Russell, Yola, Colin Meloy, Judy Collins, Martin Anderson, Phil and Brad Cook, Jay Sweet, Holly Laessig, Jess Wolfe, Brittany Howard, Brian Lima and Allison Pangakis. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ira and Louis discuss the Grammys and Beyoncé's long-awaited Album of the Year win, Karla Sofia Gascon's wild tweets, the Buffy reboot, and more. Edward Norton joins to discuss portraying Pete Seeger in A Complete Unknown, what Spike Lee means to him, and more.Subscribe to Keep It on YouTube to catch full episodes, exclusive content, and other community events. Find us there at YouTube.com/@KeepItPodcast

The new biopic A Complete Unknown follows a young Bob Dylan as he arrives in New York and changes American folk music forever. Edward Norton plays folk icon Pete Seeger, who had a big impact on Dylan. Seeger was famous for his songs about working people, unions, and social justice. We're revisiting Terry's 1984 interview with Seeger, as well as her 2016 interview with Bruce Springsteen, who was compared to Dylan when he broke onto the scene.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy