Decade of the Gregorian calendar (1970–1979)
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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
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
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/sound-studies
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
A Sermon for the Seventh Sunday after Trinity Hosea 14:1-9 & Romans 6:19-23 by William Klock I've been reading a great book by an Oxford classicist named Teresa Morgan. It's a study of the Greek and Latin words for faith and what they meant in the culture of the Greeks and Romans, the Jews, and in the early Church. It's a fascinating read and as we were getting ready to go camping last Sunday afternoon I tossed it in my bag. But then I stopped for a second, I panned across a wall of bookshelves, and my eyes settled on a copy of Ernest Cline's Ready Player One, which is—as far as I'm concerned—the ultimate novel written for Gen-X nerds who were born in the early Seventies and came of age in the Eighties. It's a sci-fi novel built around references to things like the Atari 2600, Dungeons & Dragons, Zork, and Pac-Man. I read it about ten years ago, but I decided to read it again this week with apologies to Dr. Morgan and her study of pistis and fides. And I enjoyed it the second time as much as the first. In the back of my mind, however, I was mulling over our Epistle from Romans 6 and how St. Paul writes about being slaves. That meant that one particular part of the book kind of jumped out at me. In the story there's an evil mega-corporation out to conquer and corrupt the virtual reality paradise where everyone in the future spends all their time. And this evil corporation has its fingers in everything, which means it's easy to end up owing it money. And when that happens, you're arrested and transported to headquarters where you become an indentured servant, slaving away at some menial and demeaning job until you die—because there's no way out. Between late fees, interest payments, charges for room and board and healthcare, your debt only grows, it never gets any smaller. And Cline does a pretty good job of making it sound utterly miserable—at least to me—because it reminded me of my days as a Mac tech when I had to do phone support, which is an utterly miserable job. But this book makes it ever more miserable: these indentured servants—slaves—did the phone support. The description hits close to home in a lot of ways and it makes you—or at least me—want to shout out, “Let my people go!” But like I said, I also had Romans 6 percolating away in the back of my brain too and I was asking myself: Would I rather be a slave like the Israelites in Egypt, breaking my back to make bricks without straw under the hot Mediterranean sun or having my brain turn to mush doing non-stop tech support for Innovative Online Industries? I don't know. What I do know is that being delivered from either one of those slaveries would completely change my outlook on life, the universe, and everything. And that's just how it was for Israel. The beginning of the Book of Exodus paints a bleak and desperate picture of Israel's turn of fortune—or, I should say, “providence” because, we learn as the story unfolds, the Lord was in control of the narrative all along. Jacob and his family went down to Egypt as honoured guests of Pharaoh, but four hundred years later a new Pharaoh turned them into slaves, making bricks for his grand building projects. Mixing mud and straw, filling moulds, baking them in the sun, then carrying those heavy loads of bricks to wherever they were needed. All the time baking themselves in that hot sun, day in and day out. Day in and day out with no rest. Eating out of fleshpots—which sounds pretty awful all by itself. Put yourself in that place. (Or doing phone support as a slave if that seems worse to you.) And then imagine how you would feel after the Lord came and delivered you from that slavery. And not just a simple jailbreak. Consider how the Lord came first to Moses and his people and reminded them that he was their God, the one who had made promises to their fathers and who had been sovereign over all of this all along. And the Lord then goes, through Moses, to Pharaoh. Again, this isn't a secret jailbreak in the dead of night. The Lord announced to the king, before his whole court, that Israel belonged to him, that Israel was his beloved son, and demanded Israel's release. And then the showdown began. The Lord sent ten plagues that exposed Pharaoh and his gods for the powerless frauds they really were. Defeated, Pharaoh finally let them go, but that wasn't the end of it. In one last ditch effort to recover his slaves and his dignity, Pharaoh went after the Israelites with his army and cornered them at the Red Sea. Israel had escaped the frying pan only to land in the fire. And then the Lord acted again. He bared his mighty arm and parted the waters of the sea so that his people could pass through on dry land. And when the Egyptian army tried to follow, the Lord drowned them all and left “mighty” Pharaoh, the greatest king on earth, powerless and pounding sand on the opposite shore. Again, it wasn't just a simple jailbreak under cover of darkness: You know, the Lord rescuing his people but with as little effort as possible. To the contrary, he showed his faithfulness and his love towards his people, but he also showed his glory. He brought the prison walls tumbling down in broad daylight for everyone to see. He humbled the greatest king and the most powerful gods in the known world. And he wasn't done. That was just the first act. From the Red Sea he led Isreal into the wilderness and fed her miraculously on manna and quail and water he caused to flow from a rock. He met her at Mount Sinai and there he made a formal covenant with her. “I will be your God and you will be my people.” And he gave them his law, a new way of life that would separate them from all the other peoples of the earth. They wouldn't just be the Lord's people. The law would allow them to be the people who lived with the Lord in their midst. A holy people, set apart. And so they built a tabernacle as a place of meeting with him and the Lord's glory descended like a cloud to fill it. And for a third act, the Lord led them into the land of Canaan and conquered it for them. The Lord gave them cities they hadn't built; wells they hadn't dug; and fields and vineyards they hadn't planted. All to show them his faithfulness, his love, his grace, and most of all his glory. The Lord made them the rescued-from-slavery people and every year they celebrated that identity and the great show of glory and faithfulness the Lord had made to make them that people. Each year they gathered as families and ate the Passover and as they did that they remembered who they were and what the Lord had done for them. And they were grateful. They loved the Lord with all their heart and soul and mind and strength. They loved their neighbours the way the Lord had loved them. They were righteous—meaning that they love and obeyed his law. His heart was their heart. They worshipped him and him alone. And, forget horses and chariots! They trusted in the Lord who had shown the power of his mighty arm when he delivered them from slavery. Or so you might expect. But then you read the history of Israel and it's mostly the opposite. They neglected the Passover and, not surprisingly, they forgot what the Lord had done for them. They forgot his faithfulness. They forgot his love. They forgot his grace. They forgot his glory. They neglected his covenant and his law. They worshipped other gods—the very gods defeated when the Lord conquered Canaan for them. And instead of trusting in the Lord and his mighty arm, they trusted in horses and chariots and politics and intrigue and money. And that's where our Old Testament lessons comes into this. The Lord sent the Prophet Hosea to the king and to the people of Israel with a message. At this point the kingdom had split: Judah in the south and Israel in the north. Judah was bad, but Israel was so bad they made Judah look like a goody-two-shoes. And Hosea's ministry began with an acted-out prophecy. The Lord told him to take a prostitute as his wife. Hosea obeyed. He married Gomer, a prostitute, probably from one of the pagan temples. And he loved her and cared for her and he had children with her. But repeatedly she left Hosea and returned to her life of prostitution. And each time, his heart broken, Hosea would go out and find her and bring her back to his home and love her. Through the prophet the Lord was saying to his people: I am Hosea. You're the prostitute. I loved you. I delivered you from Egypt. I gave you a land that was not your own and I caused you to prosper in it. I repeatedly defeated your enemies so that you could live at peace. But over and over you've prostituted yourselves to foreign gods and foreign kings who have done nothing for you other than to lead you away from me, your true love. Through the prophet the Lord stressed his faithfulness over against Israel's unfaithfulness. And so the Lord called to his people: Return, O Israel, to the Lord your God, for you have stumbled because of your iniquity. Take with you words and return to the Lord; say to him, “Take away all iniquity; accept what is good, and we will pay with bulls the vows of our lips. Assyria shall not save us; we will not ride on horses; and we will say no more, ‘Our God,' to the work of our hands. In you the orphan finds mercy.” And the Lord promised: If they would do this. If they would repent and return to him: I will heal their apostasy; I will love them freely, for my anger has turned from them. I will be like the dew to Israel; he shall blossom like the lily; he shall take root like the trees of Lebanon; his shoots shall spread out; his beauty shall be like the olive, and his fragrance like Lebanon. They shall return and dwell beneath my shadow; they shall flourish like the grain; they shall blossom like the vine; their fame shall be like the wine of Lebanon. But Israel had to leave off her idolatry. It was not Baal or Asherah who delivered them from Egypt and caused them to prosper in the land. It was the Lord. O Ephraim, what have I to do with idols? It is I who answer and look after you. I am like an evergreen cypress; from me comes your fruit. Whoever is wise, let him understand these things; whoever is discerning, let him know them; for the ways of the Lord are right, and the upright walk in them, but transgressors stumble in them. One way or another the Lord would heal their apostasy. One way or another the people he had chosen as his own would reveal his glory before the watching nations. Either they would be faithful to him and he would prosper them beyond measure or he would punish their unfaithfulness and let the nations destroy them. And if you've read the books of Kings and Chronicles and the Prophets you know that the latter is what happened. Israel continued in her idolatry and was destroyed by the Assyrians, the tribes scattered and lost forever. About a hundred years later the same thing happened to Judah, but it was Babylon that defeated the people and destroyed Jerusalem and the temple. But in Judah's case, even though the people were exiled from the land, they kept their identity and were eventually allowed to return. They rebuilt Jerusalem and the temple. And, so far as the worship of pagan gods went, they'd learned their lesson. Never again was that kind of raw idolatry a problem for the people of Judah. And yet we've seen in some of our recent Gospel lessons that the people still failed to be faithful to the Lord. Last Sunday we heard Jesus condemn the Pharisees—the most righteous, the most covenantally faithful people around. Even they weren't as faithful and as righteous as they thought. Enter Jesus. God himself, incarnate, became the faithful Israelite. He perfectly submitted himself to the God of Israel, to his will, to his heart, to his law. His righteousness—which, if you remember from last Sunday, means his faithfulness to God's covenant, was perfect. And his fellow Jews killed him for it. They got the Romans to crucify him on their behalf. And that means that in Jesus, the son of God wasn't just incarnate as an Israelite, wasn't just the perfect Israelite in his covenant faithfulness, he even died the very death that the Israelites would face when the judgement he announced came to them a generation later. He very literally died the death that their unfaithfulness deserved. And just like Israel in Egypt, the fate of the son of God in Israel was all guided by providence. The Lord knew what he was doing. And in that, Jesus became a sacrifice for the sins of his people. If they trusted in him as the Messiah he claimed to be, they found forgiveness of their sins. But that's not all. The Lord also knew what he was doing in allowing sin and evil to concentrate themselves all in one place so that they could rise up and do their worst to Jesus. It was Pharaoh and the gods of Egypt all over again. If you know the story, you recognise that this how the Lord works. In the same way he allowed Israel to become enslaved to the most powerful king in the world who had the most powerful gods in the world, so the Lord allowed Jesus to go to the cross where the most powerful forces in creation would kill him. And he did it so that he could, once again, bare his mighty arm and raise Jesus back to life. In doing that he not only overturned the false verdict against him in his sham trial, but more importantly, he defeated sin and death the same way he defeated Pharaoh and his gods. Jesus was leading his people in an exodus—the exodus—the exodus that the old one, the one that shaped them as a people, the one they remembered every year at Passover, was but a foretaste. The old exodus happened so that the Lord could set a pattern and teach his people his loving and faithful character—so that he could prepare them for a future rescue, not just from a pagan king and his fake gods, but so that he could rescue them from sin and death. Not to lead them into a land of milk and honey, but to lead them into his new creation—into a world finally set to rights, a world where they could live forever in his presence. And as he did in that first exodus, so in the second, the Lord displayed his glory not just to his own people, but to the watching world. And so Jesus didn't just make a new way of covenant faithfulness for his own people, he made it for everyone who would see the glory of the God of Israel at the cross and at the empty tomb. For anyone who will trust that Jesus is Lord, who will trust that in his death and resurrection he has defeated sin and death, and who will pass through the waters of baptism to life with God—a life infused by God's own Spirit—on the other side. A life of righteousness, of covenant faithfulness that exceeds that of the scribes and Pharisees. Brothers and Sisters, that glory displayed at the cross and the empty tomb is what has drawn each of us. It's faith in that glory and in the promise offered in our baptism that has taken us through those waters. And yet, like Israel of old, that vision of God's glory and of his loving faithfulness somehow fades from our vision. That vision of glory that once caused us, like the Israelites singing the Lord's praise on the shore of the Red Sea, to sing his praises ourselves, to joyfully proclaim the good news to the world, that motivated us covenant faithfulness—to a life of holiness—somehow it fades or maybe we just take our eyes off of it in the midst of our various trials and tribulations. And we lose our passion for the Lord, for holiness, for proclaiming his gospel. St. Paul saw it happening in the Roman church. The old divisions between Jew and Gentile were creeping back in. They were no longer pursuing holiness and gospel life the way they once had. And so he reminds them in Romans 6: “But now you have been set free from sin and enslaved to God, you have fruit for holiness. Its destination is the life of the age to come. The wages of sin, you see, are death; but God's free gift is the life of the age to come, in the Messiah, Jesus our Lord.” Brothers and Sisters, we need to be reminded of the glorious thing that God has done for us in Jesus. We were slaves to sin and death. We had no hope. But then we heard the story—the good news—about the mighty and glorious God of Israel, how he gave his son to die to redeem his people from their sins, how he raised him from death, and how his new creation has begun in this new people. How he's poured out his Spirit on them and made them a temple and a foretaste of the life and the world to come. A free gift. God's amazing gracious grace. And we believed and with joy we jumped into the waters of baptism. We left Pharaoh—we left sin and death—pounding sand over another escapee—and we met Jesus on the other side. And he filled us with his Spirit. And we set out with him to the promised land, to the New Jerusalem, to the life of the age to come. But somewhere along the way the joy and enthusiasm faded. We began to trade holiness for sin. We began to lag behind Jesus along the way, and began to look longingly at our old gods. We became apathetic about the gospel, about the good news that had once so captivated us. Brothers and Sisters, come to the Lord's Table this morning and be renewed. This is our Passover meal in which we recall the mighty saving deeds of our faithful, loving, gracious and glorious God. This is the meal that reminds us we were once hopelessly enslaved to sin and death, but that the God of all creation loves us so much that he gave his own and only son to die on our behalf. Remember that in him our sins have been forgiven. And remember that this meal is also God's future, pulled into the present. It's a reminder that death no longer has a hold on us, because in rising from the grave, Jesus defeated death as thoroughly as he defeated sin. The bread and wine here at the Table are a reminder of what God has done for us in Jesus and they are a reminder of the hope—the new world and the new life—that lies before us because we have trusted him. Let's pray: Lord of all power and might, the author and giver of all good things: Graft in our hearts the love of your Name; increase in us true religion; nourish us with all goodness; and bring forth in us the fruit of good works; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.
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!
Poor old Johnnie Ray.Actually, I wonder what the heart wrenching vocal superstar of the fifties made of his starring role in the biggest selling single of 1982, thirty years after his own chart topping run? Did anyone ever ask how he felt watching the footage of his younger self in the video for Come On Eileen intertwined with Kevin's dungaree festooned Emerald Express on a London street corner. Perhaps, as he was famous for doing, he cried. I hope Mr Rowland at least sent him a thank you note.So, welcome back to 1982!Were you there in those now gone days of pop perfection? Did you dance in the ra-ra skirt to Duran Duran at the school disco? Did you shed a tear as The Jam called it a day on the new Channel Four pop weekly The Tube, even though Paul knew well(er) what the next chapter held for his newly formed council. Or perhaps the Smash Hits of over forty years ago exist for you in playlists and radio schedules discovered since. Either way, the NOW Yearbook (and Extra volume) welcomes you with a neon smile to bring together over 140 hits, memories, misses and otherwise that sum up a stellar twelve months of pop. And as 1981's steely electronic winter defrosted, a new pop was emerging. Duran, Spandau, Culture, Club, Wham!, Haircut 100 and a dazzling cast of many more were turning the colour back up on their (three channel) TV sets. Whilst the technology that gloriously gave us the new romantic sounds of 1981 was still driving the decade forward, suddenly we were taking ourselves, well, a bit less seriously. Pop was fun again as seen in the ever evolving, cheerleading extravaganza that was Top of The Pops. The charts were indeed alive to the possibilities of much more. Trevor Horn's hit production machine was digitising our delights with the sounds of ABC, Dollar and even the Appalachian hip-hop of Malcolm McLaren's Buffalo Gals. Seventies survivors such as Hot Chocolate, Roxy Music, ABBA, Marvin Gaye and others were upping their game and embracing - gasp - synthesisers! And you know what, it was sounding and looking (thanks to glossy videos) AMAZING.And across the pond in the US of A? Well, we were importing them our own brand of fabulous pop and they were sending us ROCK in the form of Steve Miller, Survivor and J Geils - but even that was, well, shiny and new. What was indeed going on?To quote Smash Hits (snip!) editor David Hepworth, there were, he said, “no patterns” to pop in 1982. Join chief editor of electrictyclub.co.uk Chi Ming Lai and author of 1984: The Year Pop Went Queer Ian Wade as we dive back into a fascinating twelve months of pop as chronicled in the NOW Yearbook 1982. Amongst many other things, discover which star(s) were upsetting the Musician's Union, find out more about the language of Smash Hits and how we need it more than ever, why old was the new New, learn about the NEXT BIG genre that you need in your life (Elegant Futurism!), why Germany was giving us EVERYTHING, and discover what Haysi Fantaysee were really up to on TOTP (if you dare!).The 1982 Yearbook - Hi Fidelity indeed! Hosted on Acast. See acast.com/privacy for more information.
What was your go to candy bar in the 70s?
In the tenth episode of Soundscapes NYC, host Ryan Purcell expands upon previous episodes to consider the various musical styles that emerged in New York City during the Seventies alongside punk rock. In dialogue with music critic Will Hermes, author of Love Goes to Buildings on Fire: Five Years in New York that Changed Music Forever (Farrar, Straus, and Giroux, 2011), and Lou Reed: King of New York (Farrar, Straus, and Giroux, 2023) we contextualize cultural creators in the city during the decade who spurred a tide of experimental music including hip-hop, salsa, techno, and new styles of jazz within the context of New York City's fiscal crisis. Will Hermes is a senior critic for Rolling Stone and a longtime contributor to NPR's “All Things Considered.” His work turns up periodically in The New York Times; he has also written for Spin, Slate, Salon, The Believer, the Village Voice, City Pages, The Windy City Times, and other publications. He co-edited SPIN: 20 Years of Alternative Music (Crown/Three Rivers, 2006) with Sia Michel, and his work has appeared in the Da Capo Best Music Writing series. 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
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!
INSPIRATION MARIAGE SEVENTIES Quand j'ai reçu le premier mail de Pierre-Jean, j'ai tout de suite senti qu'il aurait de belles choses à nous raconter dans le podcast sur son mariage aux inspirations seventies années 70s ! On a longuement échangé pour préparer l'enregistrement, et j'ai littéralement poncé la galerie photos du mariage 70s ! Attention, on entre dans un univers qui n'a rien à voir avec un style bohème ou dolce vita … Dans cet épisode, il n'y aura pas de rose ni de paillettes, pas de monochrome ni de thème minéral … non, avec Alice & Pierre-Jean, on part sur une ambiance design assez pointue, un style contemporain aux inspirations seventies, dans un mélange audacieux de vert et de tons orangers, avec des touches de chrome, de foil argenté, et des miroirs placés de façon stratégique. TOUT a été pensé dans les moindres détails. Et les mariés ont pris leur temps - plus de 2 ans de préparatifs de mariage - pour chiner les pièces maîtresses de leur scénographie aux inspirations seventies.Et pour les faire-parts, c'est toute une histoire qu'Alice va nous raconter en détails …J'espère que tu es prête pour un nouveau récit de mariage ultra complet, et bourré de conseils pratiques ! Allez, c'est parti ! Je t'invite à suivre notre conversation avec Alice & Pierre-Jean … Bonne écoute !*******Bienvenue DANS LA CONFIDENCE ! le podcast mariage qui aide les futures mariées tout au long de leurs préparatifs !Je suis Laurène, jeune mariée du 15 Juillet 2021, j'ai profité de l'année de report de mon mariage pour lancer ce podcast dédié aux futures mariées. Chaque Mercredi matin, je te donne RDV pour un nouvel épisode inédit ! Je reçois des jeunes mariées qui nous racontent tous leurs préparatifs jusqu'au déroulé de leur jour J. Et j'interviewe des professionnels du mariage pour décrypter au mieux les coulisses de leurs métiers et te faire découvrir des prestataires passionnés.Ce podcast mariage, c'est le meilleur moyen de faire le plein de conseils pratiques, de bons plans et de recommandations de prestataires ! Bref, tout ce dont on a besoin quand on prépare un mariage !*******Pour me contacter par mail : danslaconfidence.podcast@gmail.comRetrouvez toutes les infos de cet épisode sur le compte instagram du podcast !Montage de cet épisode : Alice KRIEF Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.
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!
Encore! In Honor of James Gunn's newly released Superman (2025), we're revisiting the FIRST episode of Cinema Sounds & Secrets! Westside Story (1962) and Superman (1978) Our first film was a groundbreaking musical based on a smash Broadway show, and the other a movie from a very different planet – so what do they have in common? Both films are the best of their genre – the film musical and comic book superhero and both films brim with star power. To learn more about this episode and others, visit the Official Cinema Sounds & Secrets website!
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!
Bruce Springsteen was keenly aware and excited by the sounds of the CBGBs scene during the Seventies. With his own bands, the Boss performed in the same venues associated with punk rock and ultimately wrote songs for Patti Smith and the Ramones. Yet Springsteen's sound has remained distinct from punk rock as it emanated from New York. In the seventh episode of Soundscapes NYC, host Ryan Purcell talks with Bruce Springsteen biographer Jim Cullen and Melissa Ziobro the head curator of the Bruce Springsteen Archives and Center for American Music at Monmouth University about Springsteen's complicated relationship with punk rock in 1970s New York. As an NJ native, the Boss was a so-called “Bridge-and-Tunnel-Boy” but that socio-cultural infrastructure worked both ways. By the end of the Seventies, Springsteen did not need to travel to New York to engage with the punk sound. Punk culture was traveling to Asbury Park, NJ. Jim Cullen is a historian of American popular culture and has taught at several colleges and universities, including Harvard, Brown, and Sarah Lawrence College. He was a longtime faculty member and History Department chair at the Ethical Culture Fieldston School in New York before moving to the recently founded Greenwich Country Day School in 2020. Cullen is the author of multiple award-winning book books on music including Born in the USA: Bruce Springsteen and the American Tradition (Harper Collins, 1997). His latest book, Bridge and Tunnel Boys: Bruce Springsteen, Billy Joel, and Metropolitan Sound of the American Century (Rutgers University, 2023), compares the musical careers of Billy Joel and Bruce Springsteen. Melissa Ziobro is a Professor of Public History at Monmouth University where she is currently the Head Curator for the Bruce Springsteen Archives and Center for American Music. Former editor of New Jersey Studies: An Interdisciplinary Journal, Ziobro is deeply committed to documenting New Jersey history with the broader context of the American story. She curated a traveling exhibition called Music America: Iconic Objects from America's Music History which is now on display at the Grammy Museum in Mississippi and is expected to return to Monmouth University for the opening of the Bruce Springsteen Archives and Center for American Music in Spring 2026. 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/biography
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.
Nothing takes you back to the good ole Summer time like music!
From Blazing Saddles to the Pink Panther the funniest movies ever made were from the 70s
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