Podcasts about punk underground

Seit 35 Jahren halten die "Simpsons" den USA mit schwarzem Humor den Spiegel vor. Jetzt widmet sich eine große Ausstellung in Dortmund dem popkulturellen Phänomen. Dessen Wurzeln liegen im Punk-Underground, verrät Kurator Alexander Braun. Braun, Alexander www.deutschlandfunkkultur.de, Kompressor

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Funny music is often dismissed as light and irrelevant, but Weird Al Yankovic's fourteen successful studio albums prove there is more going on than comedic music's reputation suggests. In this book, for the first time, the parodies, original compositions, and polka medleys of the Weird Al universe finally receive their due respect. In Weird Al, Seriously, musicologist Lily Hirsch weaves together original interviews with the prince of parody himself, creating a fresh take on comedy and music's complicated romance. She reveals that Yankovic's jests have always had a deeper meaning, addressing such topics as bullying, celebrity, and racial and gender stereotypes. Weird Al is undeterred by those who say funny music is nothing but a low-brow pastime. And thank goodness. With his good-guy grace still intact, Yankovic remains unapologetically and unmistakably himself. Reveling in the mischief and wisdom of Yankovic's forty-year career, this book is an Al-expense-paid tour of a true comedic and musical genius. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, the novel Someone Should Pay for Your Pain," a knockout fiction debut;" and Rolling Stone named it one of the best music books of 2021. He teaches at Bard College. 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

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Kelefa Sanneh was born in England, and lived in Ghana and Scotland before moving with his parents to the United States in the early 1980s. He was a pop music critic at the New York Times from 2000-2008, and has been a staff writer at the New Yorker since then. His first book, just released on Penguin, is called Major Labels: A History of Popular Music in Seven Genres. The book refracts the entire history of popular music over the past fifty years through the big genres that have defined and dominated it—rock, R&B, country, punk, hip-hop, dance music, and pop—as an art form (actually, a bunch of art forms), as a cultural and economic force, and as a tool that we use to build our identities. Sanneh shows how these genres have been defined by the tension between mainstream and outsider, between authenticity and phoniness, between good and bad, right and wrong. Throughout, race is a powerful touchstone: just as there have always been Black audiences and white audiences, with more or less overlap depending on the moment, there has been Black music and white music, constantly mixing and separating. Sanneh debunks cherished myths, reappraises beloved heroes, and upends familiar ideas of musical greatness, arguing that sometimes, the best popular music isn't transcendent. Songs express our grudges as well as our hopes, and they are motivated by greed as well as idealism; music is a powerful tool for human connection, but also for human antagonism. This is a book about the music everyone loves, the music everyone hates, and the decades-long argument over which is which. Franz Nicolay is a musician and writer living in New York's Hudson Valley. His first book, The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar, was named a "Season's Best Travel Book" by The New York Times. Buzzfeed called his second book, Someone Should Pay for Your Pain, "a knockout fiction debut." He teaches at Bard College. 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 gang meets Elijah's sister, dances in the woods, and learn about the transcendent nature of post-punk. Elijah... is a cool kid?? Subscribe, rate and review!Follow us on Instagram, Twitter and Tiktok @tableintheatticThanks to Dan Allen for our theme song and River Hawkes for managing social media. This episode features the song "We're All Going to Hell" by Hearse Pileup, licensed under Creative Commons. See the link for more information: https://creativecommons.org/licenses/by-sa/4.0/

Post-punk has been experiencing a rebirth over the last five years. SFAT dives in deep on some of those bands, almost all of them new. Label spotlight of Upset The Rhythm, great sounds out of the UK.

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar(The New Press, 2016). The book chronicles his various tours through Eastern Europe between May 2012 and July 2014. Traveling by himself in a rental car or by train with his wife, Nicolay explores cities and towns with small but devoted punk scenes and describes what he sees in Soviet post-industrial towns. Along the way, he learns what Russian punks think about the Pussy Riot controversy and he experiences first-hand political turmoil in the Ukraine. Blending travel memoir, cultural criticism, and popular music studies, Nicolay’s writing explores the life of a touring musician, the people that they encounter on tour, and his response to what he sees and experiences. The resulting book is insightful, funny, and essential for anyone who wants to learn more about punk in Eastern Europe and the life of a touring musician. Franz Nicolay is a New York musician, who has played with many acts, such as the Hold Steady, Against Me!, and the Dresden Dolls. He is a writer whose work appears at Slate.com and in the New York Times and teaches courses at Bard College. Fans can buy his music, explore his writing, and learn about his performances at his website. Richard Schur, professor of English at Drury University, is the host for this podcast episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar(The New Press, 2016). The book chronicles his various tours through Eastern Europe between May 2012 and July 2014. Traveling by himself in a rental car or by train with his wife, Nicolay explores cities and towns with small but devoted punk scenes and describes what he sees in Soviet post-industrial towns. Along the way, he learns what Russian punks think about the Pussy Riot controversy and he experiences first-hand political turmoil in the Ukraine. Blending travel memoir, cultural criticism, and popular music studies, Nicolay’s writing explores the life of a touring musician, the people that they encounter on tour, and his response to what he sees and experiences. The resulting book is insightful, funny, and essential for anyone who wants to learn more about punk in Eastern Europe and the life of a touring musician. Franz Nicolay is a New York musician, who has played with many acts, such as the Hold Steady, Against Me!, and the Dresden Dolls. He is a writer whose work appears at Slate.com and in the New York Times and teaches courses at Bard College. Fans can buy his music, explore his writing, and learn about his performances at his website. Richard Schur, professor of English at Drury University, is the host for this podcast episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar(The New Press, 2016). The book chronicles his various tours through Eastern Europe between May 2012 and July 2014. Traveling by himself in a rental car or by train with his wife, Nicolay explores cities and towns with small but devoted punk scenes and describes what he sees in Soviet post-industrial towns. Along the way, he learns what Russian punks think about the Pussy Riot controversy and he experiences first-hand political turmoil in the Ukraine. Blending travel memoir, cultural criticism, and popular music studies, Nicolay’s writing explores the life of a touring musician, the people that they encounter on tour, and his response to what he sees and experiences. The resulting book is insightful, funny, and essential for anyone who wants to learn more about punk in Eastern Europe and the life of a touring musician. Franz Nicolay is a New York musician, who has played with many acts, such as the Hold Steady, Against Me!, and the Dresden Dolls. He is a writer whose work appears at Slate.com and in the New York Times and teaches courses at Bard College. Fans can buy his music, explore his writing, and learn about his performances at his website. Richard Schur, professor of English at Drury University, is the host for this podcast episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar(The New Press, 2016). The book chronicles his various tours through Eastern Europe between May 2012 and July 2014. Traveling by himself in a rental car or by train with his wife, Nicolay explores cities and towns with small but devoted punk scenes and describes what he sees in Soviet post-industrial towns. Along the way, he learns what Russian punks think about the Pussy Riot controversy and he experiences first-hand political turmoil in the Ukraine. Blending travel memoir, cultural criticism, and popular music studies, Nicolay’s writing explores the life of a touring musician, the people that they encounter on tour, and his response to what he sees and experiences. The resulting book is insightful, funny, and essential for anyone who wants to learn more about punk in Eastern Europe and the life of a touring musician. Franz Nicolay is a New York musician, who has played with many acts, such as the Hold Steady, Against Me!, and the Dresden Dolls. He is a writer whose work appears at Slate.com and in the New York Times and teaches courses at Bard College. Fans can buy his music, explore his writing, and learn about his performances at his website. Richard Schur, professor of English at Drury University, is the host for this podcast episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar(The New Press, 2016). The book chronicles his various tours through Eastern Europe between May 2012 and July 2014. Traveling by himself in a rental car or by train with his wife, Nicolay explores cities and towns with small but devoted punk scenes and describes what he sees in Soviet post-industrial towns. Along the way, he learns what Russian punks think about the Pussy Riot controversy and he experiences first-hand political turmoil in the Ukraine. Blending travel memoir, cultural criticism, and popular music studies, Nicolay's writing explores the life of a touring musician, the people that they encounter on tour, and his response to what he sees and experiences. The resulting book is insightful, funny, and essential for anyone who wants to learn more about punk in Eastern Europe and the life of a touring musician. Franz Nicolay is a New York musician, who has played with many acts, such as the Hold Steady, Against Me!, and the Dresden Dolls. He is a writer whose work appears at Slate.com and in the New York Times and teaches courses at Bard College. Fans can buy his music, explore his writing, and learn about his performances at his website. Richard Schur, professor of English at Drury University, is the host for this podcast episode. Learn more about your ad choices. Visit megaphone.fm/adchoices

What is the punk music scene like in Croatia, Serbia, Hungary, Russia, Ukraine, or Mongolia? Who listens to punk in Eastern Europe and in the Balkans? What kind of venues host punk shows? Punk musician and writer Franz Nicolay explores these questions and much more in his Humorless Ladies of... Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike chats with Franz Nicolay, musician and author of "The Humorless Ladies of Border Control: Touring the Punk Underground from Belgrade to Ulaanbaatar", at The Oath Craft Beer Sanctuary. We sample the Kuhnhenn 2011 Dark Heathen triple bock as well as the Sixpoint 5 Beans imperial porter.