Podcasts about seventies

ORIGINAL AIR DATE: NOV 29, 2020NOTE: CONSPIRNORMAL PODCAST TO RETURN SOON! STAY TUNED!Let Adam and Surfiel know you're happy they're back by showing your support!  Check out their links below:https://www.patreon.com/conspirinormalErik Davis joins us for a fun and informative episode. We speak to Erik about his book "High Weirdness: Drugs, Esoterica, and Visionary Experience in the Seventies". Erik's book accounts the experiences of the McKenna Brothers, Robert Anton Wilson, and Phillip K. Dick and how they influenced the continuing counter culture of the 70s and down to today. We also speak to Erik about the current conspiracy climate and how he now sees the information war as it's own form of intiation and it's own form of Chapel Perilous.If you would like to find out more about Erik Davis go to his website at: https://techgnosis.comhttps://www.facebook.com/pages/Conspirinormal/445112635502740Support this podcast at — https://redcircle.com/conspirinormal-podcast/donations

In November 1972, a new California band suddenly burst onto the scene with a brilliant debut album. But that band was really just a recording vehicle for two songwriters from New York, Donald Fagan and Walter Becker, who would go on to create some of the finest albums of the Seventies and get inducted into the Rock Hall of Fame in 2001. But this first one has gone down in history as one of rock's finest. Randy Renaud revisits the birth of Steely Dan on this week's edition of the Chronicles of Rock.

Send us a textMerch - https://prettycool.printify.me/Patreon - https://www.patreon.com/c/PrettyCoolIGuessThe Devil's Rejects - 2005Director / Writer - Rob ZombieMusic - Tyler BatesStars:Sid HaigBill MoseleySheri Moon ZombieWilliam ForsytheKen ForeeMatthew McGroryLeslie EasterbrookDanny TrejoDiamond Dallas Page

Everyone joins in and we talk about things from the 70s that are worthbig money today. We also talk about cool toys and games from the 1970s.

Rick and Jay talk about stupid mistakes, shoe money, James Burrows, Cheers, directing people, not getting the girl, and the moment you reveal your big secret and no one cares.Bio: Rick Beren grew up in the Sixties and Seventies in the very liberal Bay Area. Even then, he managed to push the boundaries of tolerance of his parents, teachers, and eventually, the law. Mostly minor indiscretions, and all (always) in the pursuit of fun, but it landed him in the Vacaville State prison for selling one quarter gram of cocaine. The quality was so poor, he should've been convicted of false advertising. Anyway, his girlfriend also was sent to State prison (unfortunately, not by his side) for women. She had sold the same undercover agent, some 200 amphetamine pills. They were in college at the time (1977) and spent about 5 months in jail. The story of Ricks book is told with humor, compassion and a what the fuck attitude of how could this little, entitled, Jew end up in prison with Charles Manson and his ilk? As I say, He was probably always headed in that direction. Speaking of direction. In less than five years after his release, he was the director's assistant on his favorite show, Cheers. Rick found his life calling and immersed himself in the bliss of being around these amazingly talented people. He worked his way up the ladder and became a director himself and on that very show!  He went on to direct many shows and worked in the industry for four decades. Along the way, he fell into an amazing relationship (with a girl who was not an ex-con) and they have two (so far not ex-con) daughters. Life turned out pretty fucking great. And the highlight of his life and career was being able to spend time with Jay ( the legend) Kogen in an intimate (edited) two hour conversation. Jay wants his time backing the form of a poker game where he can monetize his efforts.

Send us a textWe riff through The Cars' catalog, defend Ben Orr's legacy, and stress why Candy O and Panorama still reward deep listens. We test a stack of California Dreamin' covers, revisit 60s pillars like CCR and Hendrix, and salvage “forgotten” 70s and 80s bands with fresh ears. We end by crowning a 1975 opening line that still shocks and make the case for separating art from the artist.• dual-frontman chemistry in The Cars and why Ben Orr's vocals anchor the biggest hits• Candy O's shift from the debut and Panorama's darker edge• Drive and Heartbeat City as commercial peak vs fan favorites• CCR's Fortunate Son and Hendrix's Watchtower as era-defining statements• California Dreamin' cover shootout and what makes a good cover• Blood, Sweat & Tears, Ten Years After, Mountain, ELP re-evaluated• 1975 standouts and the power of a perfect opening line• separating music from artist politics to preserve memoryI won't be here next Thursday. I will be on the Icon of the Seas somewhere in the Western Caribbean. Jealous? I'll see you in a couple of weeksIf you like this podcast SHARE it. If you have any ideas or suggestions for the show you can email us at: milkcratesandturntables@gmail.com

Ever since I heard the Argentine saxophonist Gato Barbieri back in the Seventies, I've been fascinated by musicians from South America who found their way to jazz.Lately there seems to be a strong showing of contemporary musicians from various Latin American countries who not only play jazz but also mix certain Latin American folk traditions into their sound.So, this week I spoke with six of them: vocalist Claudia Acuña from Chile, Argentine vocalists Sofia Rei and Roxana Amed, Mexican vocalist Magos Herrera, guitarist/vocalist Camila Meza and tenor saxophonist Melissa Aldana.Each has a story about identity, living the jazz dream and how they came to jazz.Hopefully you'll use this roadmap to start your own journey into jazz, if you haven't already.- FelixMusic heard in this episode:Claudia Acuña - “Prelude To A Kiss”Sofia Rei - “El Gavilán”Gato Barieri - “To Be Continued”Roxana Amed - “Corazón delator”Mangos Herrera - “Luz de Luna”Camila Meza - “Utopia”Melissa Aldana - “A Purpose”Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Ever since I heard the Argentine saxophonist Gato Barbieri back in the Seventies, I've been fascinated by musicians from South America who found their way to jazz.Lately there seems to be a strong showing of contemporary musicians from various Latin American countries who not only play jazz but also mix certain Latin American folk traditions into their sound.So, this week I spoke with six of them: vocalist Claudia Acuña from Chile, Argentine vocalists Sofia Rei and Roxana Amed, Mexican vocalist Magos Herrera, guitarist/vocalist Camila Meza and tenor saxophonist Melissa Aldana.Each has a story about identity, living the jazz dream and how they came to jazz.Hopefully you'll use this roadmap to start your own journey into jazz, if you haven't already.- FelixMusic heard in this episode:Claudia Acuña - “Prelude To A Kiss”Sofia Rei - “El Gavilán”Gato Barieri - “To Be Continued”Roxana Amed - “Corazón delator”Mangos Herrera - “Luz de Luna”Camila Meza - “Utopia”Melissa Aldana - “A Purpose”Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

You might me be very surprised to know who has opened for who!

Scot and Jeff discuss Iggy Pop & the Stooges with Dominic Green.Introducing the Band:Your hosts Scot Bertram (@ScotBertram) and Jeff Blehar (@EsotericCD) are joined by guest Dominic Green. Dom is a historian and columnist, and he used to be a musician. He is a contributor to the Wall Street Journal and a columnist for the Washington Examiner and Jewish Chronicle. Check him out on Twitter at @DrDominicGreen.Dominic's Music Pick: Iggy Pop & the StoogesLooooooooooord! When Dominic last joined us on Political Beats, to discuss the great U.K. band The Jam, we declared it to be in some ways one of the most necessary episodes of the show ever. (It was.) He has chosen to return to us this month with another one of the most necessary shows we have recorded, a deep dive into the true foundations of punk.Did "punk" music begin with the Sex Pistols in 1976? With the Velvet Underground in 1966? No. Whatever else you may think punk should be, or whatever else it evolved into, the true musical spirit of punk begins with the Stooges' 1969 debut album, a record of such throbbingly feral loudness, rage, and inarticulate energy that it seemed like the sound of cavemen bashing upon logs. And yet the Stooges -- led by Ypsilanti, Michigan's own James Osterberg, better known to the world as Iggy Pop -- were both primitive and neo-primitivist simultaneously: maybe the first band whose garage-rock aesthetics were both authentic and also an intentional artistic proposition. Iggy Pop -- working with the Ashton brothers and later James Williamson -- sought to strip rock and roll to its rawest, most inchoate essentials, and succeeded so wildly that an entire subgenre of music reveres him as their founding father.And then, of course, there's his work with David Bowie in the late Seventies, where both men creatively resurrected themselves. Buckle up for a brisk roller-coaster of an episode, folks -- embrace your lust for life. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This was a Ko-Fi Request! Click here to get your request in: https://ko-fi.com/rapcriticAlso, Patrons heard this episode FIRST! Get the next episode, PLUS the exclusive Boondocks Podcast episodes! https://www.patreon.com/c/rapcritic

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

Definitely worth a watch

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

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?

"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

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

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

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

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.