Podcasts about seventies

Well it was too windy and cold to do a live at the cemetry, and still a little under the weather so we changed plans

This one starts out a little differently. Ian Paratore was born and raised in San Francisco, but he's moving away. This week. To Oakland. Ian's dad, Vince Paratore, moved into a Victorian in The Haight in the late-Seventies/early Eighties, and is still there. That's the house Ian grew up in starting roughly 10 years later. Both of his parents are artists and teachers. His dad came to San Francisco from Syracuse, New York, to study photography at SF State. And his mom, Valerie O'Riordan, is from Long Beach in Southern California. She moved to The City to work with ACT (American Conservatory Theater). The house at Page and Clayton is the only place Ian's dad has lived in SF. I asked Ian whether he knows any stories from that house before he was born in the early Nineties. Both his parents being "natural hosts," there were many parties. Nowadays, when his dad is out of town, Ian will sometimes have parties of his own at his dad's place. When he does, he says his dad often offers up stories from back in the day. One involves a party with so many people already inside cramming a hallway, folks had to come and go via the first escape. Back in the day, his dad was a general manager at restaurants like Stars, Donatello, Garibaldi's, and Beach Chalet, which he helped open. Both his parents were big in the San Francisco restaurant scene. We turn to Ian's early life, which he experienced in the mid-Nineties to early 2000s. As a kid, and a kid without a backyard, he spent a lot of time in Golden Gate Park and The Panhandle. He hung out on playgrounds and basketball courts. He adds that "the craziness of Haight Street was just … normal." I ask Ian about Skates on Haight, which I knew from my Eighties/Nineties skateboarding days from ads in magazines like Thrasher. (Marcella, who took photos for this episode and was with us at the table, chimes in at this point.) Ian rattles off some spots from his childhood in The Haight—places like Gus's before it was known as Gus's, an Ethiopian restaurant, and a musical instrument store. In high school, Ian got into visual arts and playing sports—mainly baseball and basketball. By the time he got to college, he played baseball "at a high level," and art fell more or less by the wayside. More on that in Part 2. But during high school, though he took art classes, sports dominated his life. We end Part 1 with Ian rattling off the San Francisco schools he went to. He did a stint at College of San Mateo (CSM) before getting into UC Berkeley, which was the first time he lived outside his childhood home. He had flirted with college on the East Coast before deciding to stay closer to home. Check back Thursday for Part 2 with Ian. And join us tomorrow for a very special, timely bonus episode. Follow Ian and Break Fake Rules on Instagram. We recorded this podcast at 540 Bar in the Inner Richmond in October 2025. Photography by Marcella Sanchez

Greetings! Tune in for a week packed with highlights, including a new track from my friend Joe Benzola, the latest from Jessica Pavone (who I had the pleasure of driving for her High Zero Festival appearance in Baltimore), and a classic electronic track by Carl Stone. Stone, who recently played Baltimore's Red Room, was one of the first new artists I played when I started hosting PTE in 1989. You'll also hear lots of current releases and new acquisitions! Enjoy! Joel e-mail: pushingtheenvelopewhus@gmail.com Bluesky: https://bsky.app/profile/envpusher1.bsky.social    10-11-25 PTE Playlist   When Water is Scooped in the Hands.... - Joseph Benzola - digital single (2025) https://josephbenzola.bandcamp.com/track/when-water-is-scooped-in-the-hands    What Worked That Way And It Worked Good / What Happens Has Become Now  - Jessica Pavone - What Happens Has Become Now - Relative Pitch Records (2024) https://jessicapavone.bandcamp.com/album/what-happens-has-become-now    In Secret Dreams / The Comfort - Skinner box - the Playhouse -  bobok ltd (1990) https://skinnerbox2.bandcamp.com/album/the-playhouse    w/ Susan Alcorn 2 - Thollem w/ Susan Alcorn - Five Astral Traveling Session Duos - Astral Spirits (2021) https://thollem.bandcamp.com/album/five-astral-traveling-session    Duo Improvisation II - Thollem / Hafez Modirzadeh - Five Astral Traveling Session Duos - Astral Spirits (2021) https://thollem.bandcamp.com/album/five-astral-traveling-session    In my name you shall perish! A choleric, silently screamed. (2025 Demaster) - Yhorm - The Hermit - Menschenfeind Propaganda (2025) https://yhorm.bandcamp.com/album/der-eremit    Shing Kee (1986) - Carl Stone - Electronic Music from the Seventies and Eighties - Unseen Worlds (2016) https://carlstone.bandcamp.com/album/electronic-music-from-the-seventies-and-eighties    Amygdala - Brad Garton & Dave Soldier, feat. Terry Pender / mandolin & EEG The Wheel - Brad Garton & Dave Soldier, feat. William Hooker / drums & EEG Dopamine - Brad Garton & Dave Soldier, feat. Dan Trueman / Hardanger fiddle & EEG  Bible School Vacation - Brad Garton & Dave Soldier, feat. Margaret Lancaster / flute & EEG The Brainwave Music Project - Mulatta (2017) https://davesoldier.bandcamp.com/album/the-brainwave-music-project⦁ Amygdala - Brad Garton & Dave Soldier, feat. Terry Pender / mandolin & EE The Brainwave Music Project - Mulatta (2017) https://davesoldier.bandcamp.com/album/the-brainwave-music-project    Rabbit heart thumping - Bitsy Knox & Roger 3000 - The Ears of Animals - moli del tro records (2025) https://molideltro.bandcamp.com/album/the-ears-of-animals    Loaf Cakes Are For Surfers - Dave Ruder -  Lil Ol Davy Ru Ru - Gold Bolus Recordings (2025) https://daveruder.bandcamp.com/album/lil-ol-davy-ru-ru    iasso (Simon Heartfield remix) - Euan Dalgarno - Uoying Remixed - Not Yet Remembered Records (2025) https://notyetremembered.bandcamp.com/album/uoying-remixed    :Murdum: (excerpt) - Boreal Path - Boreal Covenant - Personal Archives (2025) https://personalarchives.bandcamp.com/album/boreal-covenant 

Our listeners chime in on Facebook live as we talk about 70s Halloween costumes and Trick-or-Treating in the 1970s.

Today on another encore episode of the Rarified Heir Podcast, we are talking to three prior guests of the podcast who are talking to us in the boldest experiment in Rarified Heir Podcast history! How so? We are talking to them all at once. Something we had never done before. But don't fret, Carnie Wilson, Jenny Brill and Shawn Kay have been friends for quite a long time and, in fact, they know each other and host Josh Mills from as far back as elementary school. There are laughs and some tears on this one. Since the time of this recording, sadly we have lost two of the celebrity parents of our guests, as both Mitzi McCall, mother of Jenny Brill and Brian Wilson, father of Carnie Wilson have both passed away as of this encore episode. While it puts things in perspective rather quickly, it also helps us to realize that the entire point of this podcast is to make sure that in this fast paced world, we don't forget the names and stories about some of the most beloved entertainers of the 20th century. And with that in mind, this episode is a rollicking one, a bit experimental as we said but also fast paced, filled with childhood memories and what it was like not only growing up the child of a celebrity but also with friends whose parents were also celebrities. We get into some ridiculous tales about the Oakwood school where they all met, insane stories about album jackets as modes of transportation and a nostalgic trip down a very 1970s memory lane. Which begs the question, just how did the children of Mitzi McCall, Charlie Brill, John Kay, Brian Wilson and Marilyn Wilson get along? In a word? Famously. Take a listen.  

It is kind of amazing all the scary/creepy places we grew up with. Some turned out to be not so ,,,,

If you're a Doctor Who fan of a certain age, then you'll know exactly who David J Howe is. DWM's Matrix Data Bank consultant, DWAS exec member, co-editor of The Frame fanzine, co-author of The Sixties, Seventies and Eighties books, plus the Handbook series, publisher at Telos Books... Yes, he's done a lot, and doggedly stuck with the show through thick and thin. Now, his autobiography, Who Me!, has been released. He joins us to talk about his life in fandom, and the new book.

Chatting today with Kashena Sampson all about music and witchcraft!Nashville artist Kashena Sampson will release her powerful new album, Ghost Of Me, on October 3rd. Born of shadow work and transformation, Ghost Of Me tells a testament of survival, personal discovery, and resilience. Rolling Stone has said her music evokes "the best of Seventies folk," and she has drawn a lot of comparisons to Stevie Nicks. This time, though, she digs deep beneath the surface to explore new territory, summoning her childhood influences (like Mazzy Star, Björk, and the Pixies).Besides being a singer-songwriter, Kashena is a tarot reader and practitioner - she was raised in a non-religious Jewish household with mother who taught her about Kabbalah and herbalism. The family didn't have a television, so Kashena's profound creativity blossomed at a very early age. Always drawn to witchcraft, her very first job was at an occult/esoteric bookstore. Her practice has been instrumental in her success on her sobriety path, and her commitment to shadow work has changed her life. Her songs are spell work, and her music is enchanting. Her album release is a lunar journey: the album and single releases are structured like a ritual under the phases of the moon - a cycle of letting go, calling in, and rising again. Find Kashena and Ghost of Me:Website: https://www.kashenasampsonmusic.com/Instagram: https://www.instagram.com/kashenasampson/?hl=en

She's back for another amazing episode!

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. 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

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

In the fifth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares sit down with the legendary DJ Nicky Siano. The history of dance music in 1970s New York is synonymous with the life and work of Siano. He was among the early attendees of David Mancuso's Loft dances, where he learned to organize parties and DJ for an audience. Siano transposed Mancuso's informal gatherings to a proper discotheque called The Gallery (1972-1977,) which he co-owned and DJed. At The Gallery, Siano pioneered techniques such as beatmatching, EQing, and using three turntables to fashion a proto-disco sound through his preferred selection of funky soul and R&B records, inspiring a host of celebrated figures like Larry Levan and Frankie Knuckles. The Gallery was a seminal 1970s nightclub that laid a blueprint for iconic New York clubs like the Paradise Garage and Studio 54. Siano is perhaps most well-known for DJing and being fired from Studio 54 for his unconventional methods. For Siano, music was more than pleasure. It was a source of empowerment, a refuge, and spiritual salve that has enabled him to persevere and thrive as a DJ in New York during the Seventies and beyond. In this conversation, Siano illustrates the power of music that animated his involvement as an activist in the Stonewall riots. As a DJ, Siano has maintained his belief in the capacity of music to bring people together, despite social differences, and as a healing force during the AIDs era. In this conversation, Siano traces his evolving romance with music, echoing his enduring salvo: Love is the Message. The title of this episode draws from a memoir that Nicky Siano is currently authoring, I, DJ: Stonewall to Studio 54. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

The Wrecking Crew is to the Sixties what The Immediate Family are to the Seventies, so it's no accident that music doc director extraordinaire Denny Tedesco tackled both groups of studio musicians in equally fascinating documentaries.  While we're on the topic of Graham Nash, The Immediate Family became Crosby & Nash's touring ensemble, nicknamed The Mighty Jitters on the road for reasons we won't go into here. Here's just a few of the many things that Denny discusses with Discograffiti in this podcast:How Denny's relationship with his father (Wrecking Crew guitarist Tommy Tedesco) changed after his cancer diagnosis; The ways in which his newest doc The Immediate Family differs from his first, The Wrecking Crew;The cold, hard realities of making an independent film;The toxic relationship between Hal Blaine and Carole Kaye;His incredible upcoming music doc projects;And our mutual dream doc project.There'll be a short sneak peak running publicly for free, but the entirety of this podcast will only be accessible on the Major Tier of Discograffiti's Patreon. Don't miss it, or you'll only be getting part of the story. Get it as a one-off, or better yet just subscribe…and then we'll all have world peace.Full Episode: Patreon.com/Discograffiti (available on the Major Tier & up)Free Sneak Peek: linktr.ee/discograffitiSubscribe to Discograffiti's Patreon and receive a ceaseless barrage (4 shows a week!) of must-hear binge-listening. It's completely free to be a basic member, $1 to get your backstage pass, $5/month for the weekly Sunday show by & for our community, $10 for weekly early release, ad-free, super-extended Director's Cuts of the main show plus access to half our Patreon episode archive, & $20 for Discograffiti's weekly bonus episodes and access to our entire Patreon episode archive. There are now over 300 Patreon episodes.CONNECTJoin our Soldiers of Sound Facebook Group: https://www.facebook.com/groups/1839109176272153Patreon: www.Patreon.com/DiscograffitiPodfollow: ⁠⁠https://podfollow.com/1592182331⁠⁠YouTube Channel: https://www.youtube.com/channel/UClyaQCdvDelj5EiKj6IRLhwInstagram: https://www.instagram.com/discograffitipod/Facebook: https://www.facebook.com/Discograffiti/Twitter: https://twitter.com/DiscograffitiOrder the Digital version of the METAL MACHINE MUZAK 2xLP (feat. Lou Barlow, Cory Hanson, Mark Robinson, & W. Cullen Hart): www.patreon.com/discograffiti/shop/197404Order the $11 Digital version of the MMM 2xLP on Bandcamp: https://discograffiti.bandcamp.com/album/metal-machine-muzakOrder the METAL MACHINE MUZAK Double Vinyl + Digital package: www.patreon.com/discograffiti/shop/169954Merch Shop: https://discograffitipod.myspreadshop.com/allVenmo Dave A Tip: @David-GebroeWeb site: http://discograffiti.com/CONTACT DAVEEmail: dave@discograffiti.comFacebook: https://www.facebook.com/hooligandaveInstagram:  https://www.instagram.com/davidgebroe/Twitter: https://twitter.com/DaveGebroeThere is no other Patreon in existence where you get more for your money. 4 shows a week is what it takes these days to successfully blot out our unacceptable reality…so do yourself a favor and give it a shot for at least one month to see what I'm talking about.  If you're already a member, please comment below about your experience.  www.Patreon.com/discograffiti#dennytedesco #theimmediatefamily #thebeachboys #thewreckingcrew #wreckingcrew #brianwilson #beachboys #tommytedesco #mikelove #carlwilson #music #aljardine #leesklar #dannykortchmar #petsounds #brianwilsonrip #russkunkel #studiomusicians #caroleking #rocknroll #jamestaylor #philcollins #eatingraoul #donrandi #carolekaye #waddywachtel #discograffiti #metalmachinemuzak #soldiersofsound #andyourdreamscometrue

Since we just had the Labor day weekend, we thouth we would go back in time and visit about the incredible Jerry Lewis Labor day MDA telethon we grew up watcging!

Marga Gomez grew up in Washington Heights, New York City, immersed in a family of Spanish-language entertainers. Welcome to Season 8, Episode 1 of Storied: San Francisco. I first learned of Marga more than a decade ago, through comedy and performance circles I was adjacent to. Because I don't have the world's best memory, I cannot recall exactly where or when I saw her perform, but I do remember feeling an immediate pull to her work. In this episode, Marga shares the story of her parents, growing up in NYC, and coming to San Francisco. We begin in Manhattan, where Marga was born to a comedian/producer/screenwriter Cuban-American dad and a dancer/aspiring actor Puerto Rican mom. Marga went to Catholic school as a youngster, which she says was every bit as harsh as folks say. Looking back, Marga thinks the only discipline she got when she was a kid was through school. Her parents, she says, were narcissists. The two met when Marga's mom danced in a show produced by her dad. The shows were varietal in nature, and took place on stages live at theaters showing Spanish-language Mexican movies. Her dad had danced in shows in Havana pre-Castro. Some white American show producer-types with Johnny Walker, the Scotch company, brought him to New York, unaware that he didn't speak English. It was the Fifties—the height of a Spanish entertainment craze (think Ricky Ricardo). Many folks from Latin America were also immigrating to the US, and New York especially, in those days. And they, too, wanted entertainment. Marga's dad found work in that world, first as a performer, then as a producer. Growing up with locally well-known/borderline famous parents instilled in young Marga a sense that she could do anything she wanted. But when they split up, Marga went with her mom to live in a white neighborhood on Long Island. She was one of the only kids of color in an otherwise homogenous, affluent area. No longer in the Spanish-language community that raised her, she lost that sense of becoming a performer in her own right. She just wanted to graduate high school and get out. And that she did. She ended up at a New York State school on the border of Canada, in Oswego near Lake Ontario. It was still the same weather she used to, but it was time to explore—with pot, acid, and women. She got really into “storyteller” musicians around this time, some women, Dylan, that kind of thing. And she met a woman who later was the reason Marga came to San Francisco. Marga's impression of San Francisco before she moved here was shaped by a magazine feature about the Hippies here at that time—the Seventies. She owes that attraction to her mom's strict parenting style—it was a rebellion in every sense. She'd not made it through to graduation (too much acid, she says), but followed her girlfriend across country to this magical new city. It was 1976, the year of the US Bicentennial. Marga's girlfriend did all the driving (she still doesn't have a license), taking the scenic route along Route 66, through the heart of the United States during its 200th birthday celebration. They saw a lot of Americana—the good and the bad (racism, misogyny, homophobia). It made landing in SF all the more poignant. They came up the California coast, saw Big Sur, then arrived in The City. We end Part 1 with Marga's story of the first place in San Francisco she and her then-girlfriend went—Castro Street. That story is also how her upcoming show, Spanish Stew, begins. More on that in Part 2, which drops this Thursday. That's also the date of the Opening Night of Every Kinda People. We hope to see you at Mini Bar that night for an evening of community, art, drinks, laughter, and love. This episode is brought to you by Standard Deviant Brewing. We recorded it at Noe Cafe in Noe Valley in August 2025. Photography by Jeff Hunt

It's the end, the end of the Seventies.It was a decade that had started with Edison Lighthouse and ended with Another Brick in the wall. After 221 number one singles, the decade that had given us everything from Bowie to Bell bottoms, from Chopper bikes to Chiquitita, Glam to Punk, and Sapphire to Steel, was closing down - and at a sensible hour too!On the 31st December 1979, Kenny Everett asked the (more discerning) viewers on ITV, if he would indeed make it 1980. With the iconic help of Roxy Music, David Bowie, The Boomtown Rats and many more, he just about crossed over into that new decade. But really listens, the future was already with us.And yes, 1979 did seem rather grim - a winter of discontent, political upheaval, TV strikes and terrorism. But isn't this exactly the kind of period when popular culture and significantly POP, POP, POP MUZIK comes to save us all? The kids were indeed, alright!So, in the company of some very special guests - singer/songwriter and pop legend Nick Heyward and Record Collector's very own Daryl Easlea - as we revisit the cultural tsunami that is the NOW Yearbook 1979. Rediscover a glittering embarrassment of 7” smashes from the likes of Sparks, Chic, Blondie, Squeeze, Ian Dury & the Blockheads, Roxy Music. The list, just like the glorious pages of Daryl's 1979 diary goes on and on.As well as sharing his fabulous boxset, 1993–1998: The Epic & Creation Years, Nick tells us about how important 1979 was in shaping his own musical journey. From the early days of (what would become) Haircut 100, to rediscovering kitchen sink somewhere up a junction, to defining a look and sound as the seventies morphed into the eighties. We explore the sounds of 1979 - from XTC to The Knack, from Rainbow to Sad Cafe (yes, really!), how punk was evolving into New wave, which was evolving into New Pop which… (yes, we get the idea: Ed)And also how video wasn't exactly killing the radio star, but through visuals a new age was really dawning for pop. So, lets take a One Way Ticket, One Step Beyond some Parisienne Walkways (we're not keeping these in! Ed)1979.Wow, indeed. Hosted on Acast. See acast.com/privacy for more information.

Our good friend Jeffry from the Netherlands joins us on the phone!

Bradley Jay Fills in on NightSideCultural archivist David Bieber, who was an important part of WBCN and WFNX, joined us to chat about items in his archive that helped define Boston in the 70's. Included will be the detailed recounting of the night that Mayor Kevin White likely prevented a riot at the Boston Garden by springing the Rolling Stones from jail and getting them to the Garden in time to do the show! David was at that show and has the ticket stub. What events, venues, stores, restaurants, and more pop into your mind as helping define the seventies in Boston?

Bradley Jay Fills in on NightSideCultural archivist David Bieber, who was an important part of WBCN and WFNX, joined us to chat about items in his archive that helped define Boston in the 70's. Included will be the detailed recounting of the night that Mayor Kevin White likely prevented a riot at the Boston Garden by springing the Rolling Stones from jail and getting them to the Garden in time to do the show! David was at that show and has the ticket stub. What events, venues, stores, restaurants, and more pop into your mind as helping define the seventies in Boston?

In ep 135 of “How Do You Say That?!” sponsored by britishvoiceover.co.uk, Lance C. Fuller joins Sam and Mark to talk about the feelings inside - and how you can translate them to the mic! How to respect the comedy in a script by not playing it - whether intentionally or not and how to underline points using pace without making the listener think you're underlining them! All that and a wildcard that brings an inanimate object beautifully to life!Our VO question this week is all about how you make sure your message isn't just heard... but it's felt!Get involved! Have you got a Wildcard suggestion that we should try or an idea for the show? Send it to us via Mark or Sam's social media or email it directly to podcast@britishvoiceover.co.ukScript 1You see, before the 1960s, healthcare was the unregulated wild west and some pretty terrible things happened... Soon, healthcare professionals realised regulation was necessary to improve the quality of care, keep patients safe, and make staff productive. So, a number of industry organisations were formed to put standards in place. That's where we come in. We help healthcare organisations and practitioners ensure they're compliant with those industry standards. And in doing this, we also help them get paid faster and improve their operational efficiency and prevent them from being fined or shut down.Script 2From studio 7H in Lolla Plaza, New York City, and in collaboration with N-A-R Studios in Los Angeles, California, I'm Mason Lane and this is Cold Case Crime Cuts. Stories inched apart, stories coaxed outside. Restoring, repainting and revarnishing faded shades of story, from first to last and back again. Stories that sing. Or have been sung. In song. Listen out for them, maybe before you listen to this. Episode 7: Smooth Criminal. We'd love your feedback - and if you listen on Apple Podcasts or Spotify, hit the follow button today!**Listen to all of our podcasts here - you can also watch on YouTube, or say to your smart speaker "Play How Do You Say That?!"About our guest: Lance C. Fuller is an American Actor and Voice Artist based in London. He's been in the UK 14 years, longer than he's lived in a single place besides where he grew up (Wisconsin) so this is now home. He trained in acting at American Conservatory Theatre in San Francisco, The Royal Conservatoire of Scotland, and numerous other classes in improv, vocal technique, animation, and more. He won the 2022 One Voice Award for Best Drama Performance Male and have been shortlisted an additional four times for video game performance (2019 and 2024) and Non-fiction Audiobook Performance (2022 and 2024). He's been in numerous commercials, feature films, TV shows, onstage, video games, audiobooks, podcasts, and commercials. Lance C's Website Lance C on YouTube @lancecfuller on Instagram Resources:

"The Longest Episode Known To Man!"Ok, not as long as a Joe Rogan episode, but for us this was "gearthy!" But Stayton had a lot of stuff to talk about and the stuff he covered blew Curtis and myself away! Thank you Stayton, what you have done is nothing short of amazing!

This week on Aug-Heist: The Getaway, director Quentin Tarantino brings us his debut outing, Reservoir Dogs! As a video-store clerk turned first-time filmmaker, he directed, wrote, and appeared in this indie hit, which took Sundance by storm as part of the “Class of ‘92.” The film follows six suited, code-named strangers - including Harvey Keitel, Michael Madsen, Steve Buscemi, Tim Roth, and Tarantino himself - brought together for a jewelry heist. While the film never shows the actual heist, the lead-up and aftermath are explored in bloody detail, as the Dogs turn on each other when the job goes south. Boasting all of his directorial hallmarks - graphic violence, extended dialogue featuring profanity and references to popular culture, and epic needledrops (here in the form of K-Billy's Super Sounds of the Seventies) - the film immediately established Tarantino as a made man in Hollywood and was later named the greatest independent film of all time by Empire Magazine. But do our hosts feel compelled to tip their server, er, uh, director, or are we listening to the world's smallest violin… in a pitch that only Reservoir Dogs can hear?   For more geeky podcasts visit GonnaGeek.com    You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Aug-Heist: The Getaway Theme features beats produced by Anabolic Beatz https://www.anabolicbeats.com | Remixed with lyrics and vocals by Jonolobster   Normal Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/  

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. 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

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. 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

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/caribbean-studies

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

In the 1930s, musical Ferdinand “Jelly Roll” Morton identified the influence of Latin American rhythms like the habanera in jazz, as a sonic “tinge” that fundamentally shaped his style as a stride pianist. In the Seventies, disco presented its own Latin tinge. The Latin American and Latino influence on 1970s New York disco extended far beyond the familiar narratives of the Paradise Garage and Studio 54, creating vibrant spaces that celebrated cultural fusion and community. Clubs like the Ipanema Discotheque, Copacabana, and Roseland Ballroom became crucial venues where Latin rhythms, Brazilian beats, and Caribbean sounds mixed with emerging disco to create something entirely new. These spaces, often overlooked in mainstream disco histories, were essential to the genre's evolution—places where the infectious energy of Latin music met the innovative production techniques of American dance music. The DJs who commanded these dance floors brought not just technical skill but cultural knowledge, understanding how to weave together the musical traditions of their homelands with the cutting-edge sounds emerging from New York's studios and clubs. In the fourth episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares welcome DJs Ronnie Soares and Luis Mario Orellana Rizzo to explore the Latin American contributions to New York's disco revolution. Soares, born in Brazil and arriving in New York as a teenager, became a DJ by accident in 1974 when asked to spin a Brazilian night at the French club Directoire. Though initially a dancer, he quickly became resident DJ at the famed Ipanema Discotheque and went on to create "Midnight Disco" at Roseland Ballroom—the first club in the city to hold 5,000 people. Rizzo began his career at the very inception of club culture in 1969-70, learning from DJ Francis Grasso before working at legendary venues including Cork & Bottle and Copacabana. As the first DJ to tour nationally and internationally, Rizzo helped spread dance music globally while founding Legends of Vinyl, an archival project celebrating the art of DJing. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Catch this episode as we go live with our loyal listeners! Lots of talk about vinyl records and fun 70s trivia. 

Seventies #1970s #JonGaunt #UKPolitics #Community #Discipline #Coventry #Scouts #Cubs Were we happier in the Seventies — the 1970s — and have we lost our way? I grew up in Coventry with discipline, community, and respect. Today we've got more stuff than ever… but are we really better off? This is me in the Seventies — eleven years old, outside my local church with my cub and scout group. My dad was a copper, my mum was a dinner lady. We didn't have much, but we had order, rules, and a real sense of belonging. That church is gone now, demolished. My mum died just months after this photo was taken. And looking at it today, I can't help but ask — were we happier back then? We've traded community for convenience, respect for self-interest. In this video, I'm talking straight about what's changed, what we've lost, and why we're paying the price. This isn't nostalgia for nostalgia's sake — it's a wake-up call. #Seventies #1970s #JonGaunt #WereWeHappier #Community #Discipline #ChildhoodMemories #Coventry #Scouts #Cubs #BritishLife #SocialChange #Happiness #RoseTintedGlasses #UKHistory #OldPhotos #Society Seventies, 1970s, Jon Gaunt, Were We Happier, Community, Discipline, Childhood Memories, Coventry, Scouts, Cubs, British Life, Social Change, Happiness, Rose Tinted Glasses, UK History, Old Photos, Society This video is a politics blog and social commentary by award winning talk radio star, Jon Gaunt

Subscribers can enjoy exclusive, extended conversations from this podcast. To subscribe, go to BumpInTheRoad.Substack.com   Carol Remz is 80. And an outspoken spokesperson about women's sexuality as they age. Back in the 1980's when she was experiencing perimenopause and menopause, discussions about women's health, intimacy, and aging were largely taboo and Carol was left to navigate her health challenges by herself.  A serendipitous encounter with sea buckthorn, a plant known for its healing properties, transformed her experience. Carol talks about the various preconceptions that often interfere with romantic relationships as we age and why we need to dispel them. Aging well, she notes, means working on personal acceptance.. Practicing that self acceptance, and all the changes that come with aging, is the first step to open the path to true intimacy.  Carol believes that true intimacy goes beyond physicality and is rooted in emotional connection and acceptance of one's vulnerabilities. To that end, she has written a book that aims to educate and empower women about their sexuality and health, providing the sex education many missed out on during their formative years. Not to mention their menapausal mid-life years! Her message is clear: we are not defined by our age or circumstances but by love and acceptance.      What they're saying:   “This is a beautiful book about life, its imperfections, its challenges, and its joys. It is a book of hope and wisdom for all of us facing a bump in the road.” –Pragito Dove   “Pat has woven together beautiful stories of life setbacks that have been transformed into spiritual growth. This book is a gift and a must-read for souls experiencing pain and yearning for growth.”   –Gary Hensel   Learn more at   Follow Bump on: ➡️  ➡️  ➡️  ➡️  ➡️   

The versatile Ana Marie Cox is a podcast host (Space the Nation, Past Due), a veteran journalist (MTV News, The New York Times Magazine), the founding editor of Wonkette, a writing instructor, and a political pundit and analyst, frequently featured on various cable news programs. But not to worry. Ana stays out of the political fray in this interview. I mean, nothing better to keep you stressed out and awake than the current political climate. Instead, Ana takes us on a tour of all the places she lived as a young person growing up in Texas, primarily around Austin and Fort Worth. Hear about the floor plans, the decor, and everything else you need to hear but not truly engage with as you drift off to sleep. Like all of our best episodes, it's interesting enough to keep you distracted from your worries (like, you know, politics) but not so interesting that you lose sleep. Gotta have your sleep, Sleepyheads.Learn more about Ana Marie Cox and the Third Story Workshop by going to her website, www.AnaMarieCox.com. Listen to Space the Nation and Past Due with Ana Marie Cox and Open Mike Eagle wherever fine pods are cast.Go to www.maximumfun.org/join and select Sleeping with Celebrities to support our show.Hey Sleepy Heads, is there anyone whose voice you'd like to drift off to, or do you have suggestions on things we could do to aid your slumber?Email us at: sleepwithcelebs@maximumfun.org.Follow the Show on:Instagram @sleepwcelebsBluesky @sleepwithcelebsTikTok @SleepWithCelebsJohn is on Bluesky @JohnMoeJohn's acclaimed, best-selling memoir, The Hilarious World of Depression, is now available in paperback.

Not triggers on a gun, but some stuff that immediatly makes you think of the 70s!

In the third episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares take you on an immersive journey through the hot nights and wild streets of Lower Manhattan during the Seventies. For this episode, Jesse Rifkin, a New York-based music historian and the owner and sole operator of Walk on the Wild Side Tours NYC, designed a specialized tour for Soundscapes NYC that explores key venues in the history of disco. Clubs like Paradise Garage, Nicky Siano's Gallery, and repurposed residential spaces like David Mancuso's Loft were all critical incubators of the sound and culture we call disco today. This is dense cultural geography, hardly more than one square mile, within and around a neighborhood known today as “Soho”. But in the Seventies it was sometimes known as “Hell's Hundred Acres” do to the propensity of building collapses and fires among the old hotels and loft builds that constellated the area. Soundscapes NYC welcomes back Jesse Rifkin, who appeared on Season One on the queer history of punk culture (S1.E4. Sounds of the City Collapsing). Rifkin is the author of This Must Be the Place: Music, Community, and Vanished Spaces in New York City (Hanover Square Press, 2023), and his work has been celebrated in the New York Times, Conde Nast Traveller, among others. His Substack (Walk on the Wild Side NYC) is a trove of incisive music criticism and revealing interviews with dynamic artists from the Seventies to today. Contact Soundscapes NYC Here Support the show 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

In the third episode of Season Two of Soundscapes NYC, hosts Ryan Purcell and Kristie Soares take you on an immersive journey through the hot nights and wild streets of Lower Manhattan during the Seventies. For this episode, Jesse Rifkin, a New York-based music historian and the owner and sole operator of Walk on the Wild Side Tours NYC, designed a specialized tour for Soundscapes NYC that explores key venues in the history of disco. Clubs like Paradise Garage, Nicky Siano's Gallery, and repurposed residential spaces like David Mancuso's Loft were all critical incubators of the sound and culture we call disco today. This is dense cultural geography, hardly more than one square mile, within and around a neighborhood known today as “Soho”. But in the Seventies it was sometimes known as “Hell's Hundred Acres” do to the propensity of building collapses and fires among the old hotels and loft builds that constellated the area. Soundscapes NYC welcomes back Jesse Rifkin, who appeared on Season One on the queer history of punk culture (S1.E4. Sounds of the City Collapsing). Rifkin is the author of This Must Be the Place: Music, Community, and Vanished Spaces in New York City (Hanover Square Press, 2023), and his work has been celebrated in the New York Times, Conde Nast Traveller, among others. His Substack (Walk on the Wild Side NYC) is a trove of incisive music criticism and revealing interviews with dynamic artists from the Seventies to today. Contact Soundscapes NYC Here Support the show Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

 The House of Representatives … October 10th, 1998, … A Republican Congressman from Florida rises and makes remarks about a bill he's introducing:   In the closing days of World War II, the U.S.S. Indianapolis had its hull pierced by three Japanese torpedoes. Twelve minutes later the cruiser went down. On board were almost 1,200 crew members and only 300 survived, the others dying of shark attacks and exposure. For half a century, the 316 remaining surviving crew members of the worst disaster in Naval history tried in vain to defend the honor of their captain, Charles McVay. This year a new secret weapon was employed in their quest, and that weapon was a 13-year-old boy named Hunter Scott    Who was that? That was former representative Joe Scarborough. His mention of the U.S.S. Indianapolis might sound familiar –The story of its sinking by a sub was shared in that speech by Congressman Scarborough – and in a stirring soliloquy from a salty seasoned shark hunter in Steven Spielberg's seminal Seventies summer spectacular, Jaws. But the mention of Hunter Scott might be new to you. Who's Hunter Scott? Why did Joe Scarborough call him "a secret weapon"? And how did they take on the U.S. Navy together to change history – and win? Find out in this week's episode of C-SPAN's podcast "The Weekly" – as we mark the 50th anniversary of the blockbuster movie "Jaws" … Learn more about your ad choices. Visit megaphone.fm/adchoices

Its been 50 years for everyone and 8 years for us!

What was your go to candy bar in the 70s?

Abe Saffron rose from wartime wheeler-dealing to become the king of Sydney's underworld, a man whose appetite for sex, money and scandal was unmatched by any other Aussie gangster in the swinging Sixties. Saffron paid everybody off, brought Sinatra to Sydney, and hosted Sinatra. He was, in the words of one reporter, “Mr Sin”. But as Saffron's empire of vice grew, so did the list of those desperate to bring him down — including his own henchmen. And as the Seventies dawned, Saffron would be embroiled in two fatal scandals that stained his reputation forever: one a tragic fairground fire, the other a kidnapping and murder that shocked the nation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to an exploration of one of the most distinctive branches of Mormonism: the Strangite Church. We will discuss Strangite women's role in priesthood. While many are familiar with the larger Latter-day Saint movements, the Strangites offer a fascinating glimpse into different interpretations and practices rooted in early Restorationism. Based primarily in Burlington, Wisconsin, the Strangite Church has a rich history, unique theological perspectives, and surprising elements that set it apart. https://youtu.be/61quRH-_glI Resilient Community/Promised Refuge According to the revelations of James J. Strang, Voree was prophesied to be a refuge for the people, where "the Gentiles would treat you with kindness". Remarkably, the Strangites in Voree have never experienced the persecution that other Mormon settlements faced in places like Palmyra, Kirtland, Independence, or Nauvoo. This consistent respect and kind treatment from the wider community is seen by Strangites as a powerful sign that James A. Strang's revelations were true. Furthermore, families living there have prospered, owning homes and achieving financial stability, which they believe is a testament to the blessings promised for obedience to God. The congregation has seen periods of challenge and renewal. A spiritual movement led others to move to Voree, and gradually the church began to build up again. While the primary congregation is in Burlington, members also reside in various states, including Texas, Colorado, New Mexico, Florida, Michigan, and Minnesota, often attending services via Zoom. Women in the Aaronic Priesthood Perhaps one of the most surprising and progressive aspects of the Strangite Church is its stance on women and the priesthood. Unlike many other Restorationist faiths, the Strangite Church ordains women to the Aaronic priesthood, specifically to the office of teacher. They believe that Emma Smith herself was the first teacher. These women teachers play an active and vital role in church services. They are permitted to lead meetings, often doing so in pairs, each taking half of the Sabbath service. While women hold the office of teacher, they are not ordained as deaconesses; deacons are exclusively boys. Priesthood ordination in the Strangite Church is not tied to age or seen as a "rite of passage.” Instead, individuals are called when a priesthood member receives inspiration that a particular person is ready and begins to excel. The Strangite priesthood structure includes: Melchizedek Priesthood: Elders and High Priests. Aaronic Priesthood: Priests, Teachers (including women), and Deacons. There are no Seventies currently, and they believe a prophet is needed to structure other offices. The leadership of the church has continued through a series of appointments. Lorenzo Hickey ordained Wingfield Watson as the head of the church and a high priest, who then served until his passing around 1920. Following Watson, subsequent presiding high priests have been appointed by their predecessors. Currently, David Flanders serves as the presiding high priest, a role of duty and responsibility to manage affairs, but not one that grants him higher authority than other high priests. Saturday Worship and the Nature of Christ A distinct practice of the Strangite Church is their worship on Saturday, the Sabbath day. This is based on their belief that God sanctified the seventh day during creation. They contend that the Catholic Church changed the Sabbath to Sunday to honor the sun god and appease pagans, aiming to unite Christians and pagans into a single universal church. Their theological views also extend to the nature of Christ. The Strangite Church believes that Jesus was 100% mortal, and that Joseph was his biological father. This belief is critical to their understanding of Christ's lineage, as Joseph was of the tribe of Judah, which connects Jesus directly to the covenant line of Abraham and King David through the ma...

The amazing Paul McCartney is going back out on the road, so we thought we would visit him in the 70s!

 When  I read the first chapter of Turning Toward Eden, I laughed so hard and enjoyed it so much that I immediately flipped back to the beginning and read it again. Listen in to see why. note: links may be affiliate links that provide me with a small commission at no extra expense to you.  Cate Touryan has written a brilliant book that takes place in the early seventies on California's central coast. Amid family drama and the threat of local "commies," Eden is trying to figure out who she is and what life is all about. The whole thing feels like my childhood. I lived in the area, spent lots of time there, and man do I love it. There aren't enough books that take place in the late sixties and early seventies, but Cate has written a brilliant one to add to every reader's shelves.  I'm not quite done, but I am loving the read. Turning Toward Eden by Cate Touryan  “Chasing the truth, huh? Sure, you're not running from it?” Hollis might be her only friend, a lanky boy Mama calls her “beau,” but Eden Lewis has no time for his hogwash. She's got a mystery to crack. For most fourteen-year-olds, California summers in the early 1970s mean sun and surf, despite the Cold War chill. Not for Eden. Her AWOL father has sent her life into a tailspin, landing her in a shabby beach town, stuck caring for her severely disabled brother. Caught in her parents' own cold war, Eden ditches Dex at every chance—pier fishing with Hollis, playing poker with the grizzled card sharks, and caterwaulin' in the church choir, laying plain to the Almighty that singing terms ain't the same as speaking terms, what with the hand he's dealt her. Then Raven arrives mid-ninth grade—an elusive Soviet girl rumored to rain black-winged curses over the fearful town. When a rash of petty crimes escalates to bloodshed on the beach, suspicion falls on the “commie”—and then Eden. Desperate to prove herself innocent, and Raven guilty, she embarks on a reckless game of chase. But for the truth to set her free, she must risk Dex's life. Will she go all in, no matter the cost? An evocative story laced with mystery, Turning Toward Eden weaves nostalgia with grit, sorrow with humor, and despair with faith, offering hope to anyone who has sought to belong in a world that rarely plays fair. "This is storytelling at its most atmospheric—brimming with quirky, well-drawn characters, razor-sharp prose, and the kind of setting you can almost smell. The writing is lyrical, grounded, and often laugh-out-loud funny—even in the midst of deeply poignant moments. With a cast of endearing misfits and a tone reminiscent of Southern Gothic charm, this story lures you in from the very first line and doesn't let go. Cate Touryan has a truly original voice, a rare gift for language, and a special ability to render a world so vivid you feel baptized in it." — Zena Dell Lowe, Screenwriter, Story Coach, and Founder of The Storyteller's Mission Audiobook Coming Soon! The audiobook edition of Turning Toward Eden is in production and on its way to Audible, iTunes, and beyond. Stay tuned for a richly narrated experience, perfect for readers who love stories on the go. Learn more about Cate on her WEBSITE and follow her on GoodReads. Like to listen on the go? You can find Because Fiction Podcast at: Apple Castbox Google Play Libsyn RSS Spotify Amazon and more!

Welcome to Beach Boys Week! In the aftermath of Brian Wilson's passing last month, Nick Scalera and Mike Wagner lead a discussion of the iconic and legendary California band. In the final episode of the series, the guys take you through the period following Smile, which encompasses many attempts to get Brian back to his creative best. There is some good music, some average music and unfortunately, some pretty terrible music.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Listen in as we go live on Facebook. Lots of loyal listeners chime in with comments and questions. Play along as Todd asks 70s trivia!

In this episode, we present a crossover of Guerrilla History and the Adnan Husain Show.  Here, Dr. Gerald Horne joins Adnan and Henry to discuss his recent book, Armed Struggle?: Panthers and Communists, black Nationalists and Liberals in Southern California, Through the Sixties and Seventies. As ever, Professor Horne connects the histories of organizing and resistance against racial capitalism to the contemporary situation, including the LA uprisings against ICE raids and developments against neocolonialism and imperialism in West Asia. A wide-ranging conversation with the inimitable Dr. Horne ranged across the histories of class politics, struggles against racism, and geopolitics to consider the prospects for resistance locally and internationally in contemporary movements for justice. Gerald Horne is the John J. and Rebecca Moores Chair of History and African American Studies at the University of Houston.  His research interests are unbelievably varied, encompassing biographies of W.E.B. Du Bois and Paul Robeson, to The Haitian Revolution, to Hollywood in the '30s-'50s, to Jazz and Justice.  Be sure to check out his bibliography, you're certain to find something that interests you! Help support the show by signing up to our patreon, where you also will get bonus content: https://www.patreon.com/guerrillahistory  We also have a (free!) newsletter you can sign up for, and please note that Guerrilla History now is uploading on YouTube as well, so do us a favor, subscribe to the show and share some links from there so we can get helped out in the algorithms!! *As mentioned, you will be able to find Tsars and Commissars: From Rus to Modern Russia soon on YouTube.