Podcast appearances and mentions of Steve Earle

What's your most loved and least favorite song on Bob Dylan's Highway 61 Revisited?! Dan chose Zimmerman's acclaimed sixth album for us to rank in this fun episode about a world class wordsmith and his out-of-tune guitar. We hit the guest ranker jackpot getting singer/songwriters Lloyd Cole and the Old 97's Rhett Miller to chime in with their most and least loved songs on the album. Listen at WeWillRankYouPod.com, Apple, Spotify and Desolation Row. Follow us and weigh in with your favorites on Facebook, Instagram & Threads and Twitter @wewillrankyoupod.SPOILERS/FILE UNDER: Joan Baez, bahhhhs, Ballad of a Thin Man, Beastie Boys, the Beatles, Blonde on Blonde, Mike Bloomfield, blues, Bringing It All Back Home, Johnny Cash, Champaign, Illinois, Lloyd Cole, the Commotions, Desolation Row, Bob Dylan, Steve Earle, From a Buick 6, folk music, folk rock, going electric, Grateful Dead, Paul Griffin, harmonica, Jimi Hendrix Experience, Highway 61 Revisited, It Takes a Lot to Laugh, It Takes a Train to Cry, Juarez, Mister Jones, Judas, Just Like Tom Thumb's Blues, Al Kooper, Bruce Langhorne, Sam Lay, Gordon Lightfoot, Like a Rolling Stone, lyrics, Charlie McCoy, Meet Me In The Morning, Milk Cow Blues, Rhett Miller, Newport Folk Festival, Old 97s, out of tune guitar, Queen Jane Approximately, rap, Rolling Stone magazine, Rue Morgue Avenue, siren whistle, tack piano, Tombstone Blues, Violent Femmes, Wilco, wordsmith, 1965.US: http://www.WeWillRankYouPod.com wewillrankyoupod@gmail.comNEW! Host tips: Venmo @wewillrankyoupodhttp://www.facebook.com/WeWillRankYouPodhttp://www.instagram.com/WeWillRankYouPodhttps://www.threads.net/@WeWillRankYouPodhttp://www.twitter.com/WeWillRankYouPo http://www.YourOlderBrother.com(Sam's music page) http://www.YerDoinGreat.com (Adam's music page)https://open.spotify.com/user/dancecarbuzz (Dan's playlists)

Today, the Spotlight shines On Mike Scott, founder of The Waterboys.In 2014, Mike stumbled upon Dennis Hopper's photography in a London gallery and fell into a rabbit hole that led to Life, Death and Dennis Hopper, a bold concept album that tells the story of the Easy Rider star from childhood to beyond the grave. It's a sonic movie with guest turns from Bruce Springsteen, Fiona Apple, and Steve Earle that chronicles not just Hopper's journey but the cultural shifts he witnessed and helped create.This marks a new peak in Mike's ever-changing four-decade career with The Waterboys, from their ‘Big Music' beginnings to Celtic folk explorations and genre-blending surprises to come.(The musical excerpts heard in the interview are from The Waterboys' album Life, Death and Dennis Hopper)–Dig DeeperVisit Mike Scott and The Waterboys at mikescottwaterboys.comPurchase The Waterboys' Life, Death and Dennis Hopper from Sun Records or Qobuz and listen on your streaming platform of choiceFollow The Waterboys on Patreon, Instagram, Facebook, and YouTubeDennis Hopper's Lost Album: life both sides of the lensThe Last Movie: Dennis Hopper's Curiously Frustrating ExperimentDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Marty Stuart rocked the country radio in the early 90s and albums that blended Steve Earle-esque country rock with badass guitar playing and a nod to traditional country. In this episode, we take a listen to the trajectory of Marty's music. Traditional country to modern country to where his music lives now: as rock music.   Did that really happen? Stuart has more than 20 studio albums, has charted more than 30 times on the Billboard Hot Country Songs charts, won five Grammy Awards, and is an engaged member of the Grand Ole Opry and Country Music Hall of Fame.  It is a fascinating truckload of music.  Let's go. Email the show: rockpoprollpodcast@gmail.com website: www.rockpopandroll.com   NOTES: The Fabulous Superlatives, Marty Stuart's band since 2002, includes Stuart on guitar and mandolin, Kenny Vaughan on guitar, and Harry Stinson on drums, and from 2002 until 2008, Brian Glenn on bass. From 2008 until 2015, Paul Martin was on bass. In 2015, Chris Scruggs replaced Paul Martin on bass, and also played steel guitar. Every member sings. Stuart's guitars also include "Clarence", a two-tone Fender Telecaster, once owned by Clarence White. This instrument is the original B-Bender guitar, built and designed by White and Gene Parsons (Byrds) in 1967, to allow the guitarist to manually raise the guitar's 'B' string one whole step to play in a style similar to a pedal steel guitar. Stuart bought the guitar in 1980 from White's widow.   Mavis Staples of the Staple Singers gave one of her father "Pops" Staples' guitars to Marty Stuart after Pop's death. "My father was Marty's godfather. My sisters and I took him in as our brother. He's the only one that I've heard who -- when he's playing guitar, sounds like Pop. He can play just like him."  

My guest on the podcast this week is six time IBMA Fiddle Player of the Year Jason Carter.Jason recently ended his 33 year run with the Del McCoury Band and we talk about that extraordinary journey, from the fascinating story about how he got the job in the first place, to the decision to move on and what comes next. We also talk about the huge changes bluegrass has gone through in those 33 years, how Del's career grew alongside that, recording The Mountain with Steve Earle and Jason's recent solo album, plus his project with Michael Cleveland.This was a wonderful conversation - I hope you enjoy it.For more info, head to jasoncarterfiddle.com and follow Jason on his Instagram You'll find the videos Jason mentions on his YouTube pageEnjoy!MattSend a message to Bluegrass Jam Along! (Don't forget to include your name so I know who you are!) Support the show===Thanks to Bryan Sutton for his wonderful theme tune to Bluegrass Jam Along (and to Justin Moses for playing the fiddle!) Bluegrass Jam Along is proud to be sponsored by Collings Guitars and Mandolins- Sign up to get updates on new episodes - Free fiddle tune chord sheets- Here's a list of all the Bluegrass Jam Along interviews- Follow Bluegrass Jam Along for regular updates: Instagram Facebook - Review us on Apple Podcasts

This season we discuss over 300 albums of the 1990s selected from https://besteveralbums.com. The show starts at (1:44). The Six Singles segment starts at (5:29). This episode covers the following albums: Steve Earle - El Corazon (41:47), Missy Elliott - Supa Dupa Fly (1:04:20), Blur - Blur (1:24:26), and The Verve - Urban Hymns (1:51:27).Check out our YouTube page here: http://www.youtube.com/@combingthestacks1470Check out the Combing the Stacks Letterboxd list here: https://boxd.it/bS98c

Vit spæla nakrar av kendastu sangunum hjá Steve Earle, nú hann varð bjóðaður at gerast limur í Grand Ole Opry. Eisini hoyra vit nýtt frá m.a. Jon Pardi, Shaboozey og Matt Daniel.

"Dance With Me" The married Michigan duo of Annagail are hard to categorize because of their startling musical range. With The Smiths, Steve Earle, Emmylou Harris and The Foo Fighters, Annagail's running through their musical DNA, Jared and Jennifer aren't afraid of a folk song or a pop song or a blues song or a roots song. It's fair to say that they're not afraid of anything. More on that in a minute. Filled with aching harmonies, wistful ballads, tender country and infectious hooks, Annagail, who used to operate under the moniker Route Three, may be tough to pin down in terms of genre, so it's easier to simply say they're brilliant at what they do and they do all of it. Jared and Jennifer have a musical symbiosis that's undeniable and profound and a tenth of their personal challenges would be enough to keep someone on the sidelines forever, but not these two. They've not only survived a list of hardships--and I'll let the interview cover that material, but just so you get an idea of how long and serious that list is, we didn't even cover the fire that destroyed their home and and studio--they've emerged from the darkness bursting with light. I'm not joking. But that word joking might be the key here; they have a sense of humor that has allowed them to navigate the trials they've encountered with perspective and wisdom and grace. I love this band. And not only is this a cool chat because they're open and lovely people, it's cool because we've caught them emerging from yet another scary moment with a renewed commitment to their craft. In many ways, this might be the most prolific period in the band's history. In fact, they have so many new albums, I'm not even sure what their latest one is. All I know is their music smolders with soulful resolve, sweeping momentum and harmonic and narrative poise. This is a wonderful chat with truly wonderful people. www.annagail.net (http://www.a) www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.bombshellradio.com (http://www.bombshellradio.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Stereo Embers IG + BLUESKY: @emberspodcast Email: editor@stereoembersmagazine.com

Academy Award-nominated actress Amy Irving has announced her sophomore album, Always Will Be, featuring 10 electrifying renditions of songs from her longtime friend Willie Nelson's iconic catalog. The album includes contributions from Amy Helm, Louis Cato, Steve Earle, Chris Pierce, Lizzie No, and Willie himself, and is due out on April 25 via Queen of the Castle Records/Missing Piece Records. Amy Irving and Willie Nelson's decades long friendship began when the pair first met on the set of the 1980 film Honeysuckle Rose. After dueting on a reimagining of his song "I'm Waiting Forever" for her 2023 debut album, Nelson reached out to Irving with a proposition: Why not record another album, one comprised entirely of his own work? Irving took him up on the offer, and the result is an incredibly heartfelt album, one that is rooted in love and friendship. Over Irving's prolific career, she has been seen in Brian DePalma's Carrie and The Fury, stage performances of Romeo & Juliet with the Los Angeles Shakespeare Society and Broadway's Amadeus. Irving was nominated for an Academy Award for her performance in Yentl, and has captivated audiences with beloved starring roles in films including Crossing Delancey, The Competition and Micki and Maude.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Academy Award-nominated actress Amy Irving has announced her sophomore album, Always Will Be, featuring 10 electrifying renditions of songs from her longtime friend Willie Nelson's iconic catalog. The album includes contributions from Amy Helm, Louis Cato, Steve Earle, Chris Pierce, Lizzie No, and Willie himself, and is due out on April 25 via Queen of the Castle Records/Missing Piece Records. Amy Irving and Willie Nelson's decades long friendship began when the pair first met on the set of the 1980 film Honeysuckle Rose. After dueting on a reimagining of his song "I'm Waiting Forever" for her 2023 debut album, Nelson reached out to Irving with a proposition: Why not record another album, one comprised entirely of his own work? Irving took him up on the offer, and the result is an incredibly heartfelt album, one that is rooted in love and friendship. Over Irving's prolific career, she has been seen in Brian DePalma's Carrie and The Fury, stage performances of Romeo & Juliet with the Los Angeles Shakespeare Society and Broadway's Amadeus. Irving was nominated for an Academy Award for her performance in Yentl, and has captivated audiences with beloved starring roles in films including Crossing Delancey, The Competition and Micki and Maude.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Présentée par Starchild. Pour ce vingtième chapitre de Country Connection, je vous propose de vous faire découvrir les meilleurs artistes et titres de ce que l'on appelle « The Outlaw Country » Pour ce dernier volet, je vais mettre à l'honneur les artistes qui ont donné leurs lettres de noblesse au genre : Willie Nelson, Kacey Musgraves, The Highwaymen, Steve Earle, Emmylou Harris, Dolly Parton, Johnny Cash et Joan Baez.

Visit: www.salty.com.au The TRIM Podcast – where timeless roots, independent voices, and modern blues converge. We journey across the gritty backroads and soulful skylines of blues, folk, and Americana with a handpicked lineup of artists pushing tradition forward. From Cedric Burnside's raw Hill Country pulse to Fenn Wilson's poetic Australian resonance, and legends like Bob and Neil, the playlist cuts deep and wide. We also shine a spotlight on rising and homegrown talent including Charlie Bedford, 8 Ball, and The Baker Smith Gamble, capturing the authentic spirit of independent music today. Plug in, turn it up, and take the ride – this is TRIM. Cuts from Cedric Burnside, Johnny Winter, Mike Bloomfield N Al Kooper, Bob Dylan, Samantha Fish, The Baker Smith Gamble, 63 Deluxe, Tomin, Steve Earle, Pieta Brown N Justin Vernon, Our Native Daughters, Kevin Burt N Big Medicine, Salty Dawg, Lurrie Bell N Mississippi Heat, Matt Walker N The Necessary Few, Shawn Kellerman N Jason Ricci, 8 Ball Aitken N Taya Chani, Charlie Bedford, Dom Turner N Rural Blues Project, Fenn Wilson, Ian Siegal, Joanne Shaw Taylor, Neil Young. ARTIST / TRACK / ALBUM ** Australia 1. Cedric Burnside / Coming Real To Ya / Hill Country Love 2. Johnny Winter / Leland Mississippi Blues / Johnny Winter 3. Mike Blomfield N Al Kooper / Albert's Shuffle / Super Session 4. Bob Dylan / Tombstone Blues / Highway 61 Revisited 5. Samantha Fish / Sweet Southern Sounds / Paper Doll 6. ** The Baker Smith Gamble / Right Where You Left It / The Baker Smith Gamble 7. ** 63 Deluxe / Mama's Got You Right / Memphis To Nashville 8. Tomin / Life / A Willed and Conscious Balance 9. Steve Earle / The Gulf Of Mexico / I'll Never Get Out Of This World Alive 10. Pieta Brown N Justin Vernon / Flowers of Love / Paradise Outlaw 11. Our Native Daughters / Black Myself / Songs of Our Native Daughters 12. Kevin Burt N Big Medicine / Who is He and What is He To You? / A Tribute To Bill Withers 13. ** Salty Dawg / Misadventure / Pre Release 14. Lurrie Bell N Mississippi Heat / Cold Cold Feeling / One Eye Open: Live at Rosa's Lounge 15. ** Matt Walker N Necessary Few / Hard To Hide / Navigational Skills 16. Shawn Kellerman N Jason Ricci / You're Gonna Learn From This One / Kell's Kitchen 17. ** 8 Ball Aitken N Taya Chani / Nightbird / Nightbird 18. ** Charlie Bedford / Daydream / Daydream 19. ** Dom Turner N Rural Blues Project / Hadn't I Been Good To You / Sit Tight 20. ** Fenn Wilson / Howl / Honey Dates Death: Ghazals 21. Ian Siegal / Master Plan / The Skinny 22. Joanne Shaw Taylor / Black Magic / Heavy Soul 21. Neil Young / Last Dance / Time Fades Away

When I Paint My Masterpiece – Josh Turner The Painter – Neil Young Vincent – Don McLean Mona Lisa – Nat “King” Cole Andy Warhol – David Bowie Sir Duke – Stevie Wonder Kansas (feat. Steve Earle) – The Waterboys Picasso’s Last Words (Drink to Me) – Paul McCartney & Wings Romeo And Juliet – Indigo Girls

Podcast #734 has it all: Headlight Rivals, Nick Gilder, Lucy Dacus, Steve Earle, Buster Shuffle, The Lone Stranger, & Deafheaven.

Con Alfa y Roberto Vecchioni, Soléa Morente, la Bien Querida, Juanjo Bona, Javiera Mena & Santiago Motorizado, Romy Schneider & Michel Piccoli, Julio Almedina, Rafael Conde "El Titi", The Who, Merseybeats, Banda Plastica de Tepelixpa, Roberta Flack, Alex Miller & Emily Ann Roberts, J. Teixi Band, Steve Earle, y los Impostores.

*NEW EPISODE NOW AVAILABLE**The Tobacco Road Show Episode 157 - The "JUMPED THE SHARK?” EpisodeLAST CALL TONIGHT!!  MISS LAVA!!!!!!!!LETS GO FROM TWANG TO BANG!The Tobacco Road Show comes to you live every Wednesday at 7:30 PM CST with Chicagoland's dlonz on Cowboy's Juke Joint Radio www.cowboysjukejoint.com.  Take a ride down Tobacco Road for the best in dirty cowpunk, whiskey soaked blues, and beyond. Upcoming Festivals:Walk This Earth - April 18-20th Woodson TexasMoonrunners - May 2-4th Cleveland OhioRoots in the Jar Farm Fest - June 6-8th BelgiumPickin' in the Backwoods - August 7-9th Nashville IndianaMUDDY ROOTS - Labor Day Weekend Cookeville Tennessee Hey bands! Submit your songs to:Email:  tobaccoroadshow@gmail.comWeekly Segments:Hey Scotty!On This Day in Chicago HistoryJoke of the WeekWednesday Night Main Event Wrasslin TriviaThe Tobacco Road Top 1001. 120blu - TOBACCO ROAD02. The Blues Against Youth - Goin' to Chicago03. Gary Lindsey and the Pleasure Tide - Old Saint What's His Name04. Gary Lindsey and the Pleasure Tide - Fun Fun Fun05. Black Eyed Vermillion - Devil's Lettuce06. Los Duggans - Fine Line07. Stoned Evergreen Travelers - The Plague08. Hangdog Hearts - The Ground is Shaking09. Hank Williams III - I Wish I Knew10. Long Gone Lonesomes - We All Fall11. Colt Snuffer and The Dead Horsemen - Blood On My Hands12. Brother Dege - To Fill a Hole13. Paul Cauthen - Angels & Heathens14. Steve Earle & The Dukes - Are You Sure Hank Done It This Way15. White Rose Motor Oil - HIT IN THE FACE! (v1)16. Shane Kelley - Life On The Byway17. Powder Mill - Forgotten Son18. The Georgia Thunderbolts - Spirit Of A Workin' Man19. Hellbound Glory - Hellbound Blues 20. Dixie Witch - Gunfight21. The Urban Voodoo Machine - The Death of Celestina Rose22. Tropa Magica - Love Buzz23. Authority Zero - Mexican Radio24. Slaughterhouse - Sick and Tired25. TIGER SEX - TV Eye26. The Hooten Hallers - Albatross27. Henry's Funeral Shoe - Be Your Own Invention28. Daddy Long Legs - Shackin' Up29. Rival Sons - Open My Eyes30. Puny Human - Champagne Minivan31. Snakebite Delight - Burn The Witch32. Nightstalker - Heavy Trippin'33. Black Road - Bloody Mary34. Miss Lava - Under a Black Sun

For the third, and final, episode where The Ledge attempts to fix the godawful errors of The Rock and Roll Hall Of Fame we handle the overlooked bands of the 90’s. Along with the usual punk and indie rock bands of that time, there’s also a couple of sets devoted to the Americana sub-genre that rose in popularity during that time. Again, just think of how much fun a ceremony would be that included the likes of the Supersuckers, Steve Earle, Rocket From the Crypt, Fugazi, Superchunk, and so many other greats. Maybe an Uncle Tupelo reunion could be negotiated after an all star jam under the Golden Smog name. Billy Childish could possibly jam with Reverend Horton Heat and Archers of Loaf! Oh that would be a show I wouldn’t miss! I also start the show with a lengthy discussion about my friend Monica Kindt, who tragically passed away earlier this week. She was my manager at two different record stores over the years, and was a person who endured many of my childish rants over the years. My thoughts go to her family and all of us friends who miss her so much. She would have loved my […]

For the third, and final, episode where The Ledge attempts to fix the godawful errors of The Rock and Roll Hall Of Fame we handle the overlooked bands of the 90's. Along with the usual punk and indie rock bands of that time, there's also a couple of sets devoted to the Americana sub-genre that rose in popularity during that time. Again, just think of how much fun a ceremony would be that included the likes of the Supersuckers, Steve Earle, Rocket From the Crypt, Fugazi, Superchunk, and so many other greats. Maybe an Uncle Tupelo reunion could be negotiated after an all star jam under the Golden Smog name. Billy Childish could possibly jam with Reverend Horton Heat and Archers of Loaf! Oh that would be a show I wouldn't miss! I also start the show with a lengthy discussion about my friend Monica Kindt, who tragically passed away earlier this week. She was my manager at two different record stores over the years, and was a person who endured many of my childish rants over the years. My thoughts go to her family and all of us friends who miss her so much. She would have loved my […]

Pug Johnson is a rising country artist who's opened for Midland, Clint Black, Steve Earle and the Eli Young Band. The Beaumont, TX native's sound is a mixture of old school country and swamp pop. We talked with Pug about his journey to the big stage and the impact his wife/manager, Mindy, has had on his life/music career. Pug also shared the meaning behind his lyrics included the songs off his new album "El Cabron" which drops on March 28th. 

Esta semana, en Islas de Robinson, caemos de lleno en territorio de Americana. Un puñado de clásicos del Country alternativo, del 90 en adelante. Suenan: CHUCK PROPHET - "RAGE AND STORM" ("BROTHER ALDO", 1990) / LUCINDA WILLIAMS - "SOMETHING ABOUT WHAT HAPPENS WHEN WE TALK" ("SWEET OLD WORLD", 1992) / VIC CHESNUTT - "WHERE WERE YOU" ("WEST OF ROME", 1991) / VIGILANTES OF LOVE - "SICK OF IT ALL" ("THE KILLING FLOOR", 1992) / TERRY LEE HALE - "JUST ASK ME" ("OH WHAT A WORLD", 1991) / T-BONE BURNETT - "OVER YOU" ("THE CRIMINAL UNDER MY OWN HAT", 1992) / FREAKWATER - "MY OLD DRUNK FRIEND" ("FEELS LIKE THE THIRD TIME", 1993) / UNCLE TUPELO - "GIVE BACK THE KEY TO MY HEART" ("ANODYNE", 1993) / VICTORIA WILLIAMS - "WHEN WE SING TOGETHER" ("LOOSE", 1994) / RICHARD BUCKNER - "BLUE AND WONDER" ("BLOOMED", 1994) / STEVE EARLE - "NOTHIN' WITHOUT YOU" ("TRAIN A COMIN'", 1995) / GILLIAN WELCH - "ONLY ONE AND ONLY" ("REVIVAL", 1996) / LAURA CANTRELL - "LITTLE BIT OF YOU" ("NOT THE TREMBLIN' KIND", 2000) / NICK LOWE - "THE BEAST IN ME" ("THE IMPOSSIBLE BIRD", 1994) /Escuchar audio

This journeyman roots music artist has toured with Steve Earle, Adam Duritz and many others.  He's recorded for Universal Music and Vanguard Records.  And he's become one of the torch bearers for American songwriting over the last 25 years.

The revolution starts... now! ANDOR spring is officially upon us with the release of the season two trailer and we are SO back. We discuss the trailer's tone with the backdrop of country music artist Steve Earle, what we're most excited for, and where this final season of Andor could be taking us. Plus, we have an exciting announcement for our April coverage! Website: http://www.friendsoftheforcepod.comLinktree: https://linktr.ee/friendsoftheforceBluesky: https://tinyurl.com/36zwf8ayThank you to all of our Patrons, including our Luminous Beings: Brian, Emma, Jenn, Jules, Lucy, Ruth, Soulcatcher, Travis, and Tom.#StarWars #Andor

The Revolution Starts Now! Andor is BACK with the first teaser trailer hyping us up for Season 2! Albert and Jonesy breakdown the teaser, debate that Steve Earle rock anthem, discuss the three shows per week format, and so much more!  Feedback and Promotion Subscribe on YouTube: Cantina Cast Send feedback and comments to hellothere@cantinacast.com Follow us on BlueSky: The Cantina Cast Follow us on Threads: @TheCantinaCast Follow us on Twitter @TheCantinaCast Like us on Facebook: The Cantina Cast Follow us on Instagram: The Cantina Cast Follow us on Tumblr: Cantina Cast Discord: Cantina Cast Channel Cantina Cast: Web Site Pandora Link: Pandora Support the Cantina Cast Cantina Cast Patreon page TeePublic Store  

Welcome to Multiverse News, Your source for Information about all your favorite fictional universesBrad Winderbaum, head of streaming, television, and animation for Marvel Studios, caught the attention of Defenders fans when he shared that Marvel is exploring bringing back the rest of the Netflix Defenders actors and characters; Krysten Ritter as Jessica Jones, Mike Colter as Luke Cage, and Finn Jones as Iron Fist. Winderbaum indicated that the studio is excited about this possibility, but there are a lot of variables that will determine the success of pulling it all together. While this is fun to hear as fans, other Marvel TV is taking a pause. Though sources say these projects were never officially greenlit, Deadline reports that Nova, Strange Academy, and Terror, Inc. are not currently being developed. This is mostly being attributed to Marvel's shift to traditionally-run television shows. But in confirmed news, The Hollywood Reporter has confirmed that Jon Bernthal will star in a Marvel Studios Special Presentation featuring The Punisher that will air in 2026 alongside the second season of Daredevil: Born Again.On Monday we were treated to the surprise drop of the full Andor season 2 trailer from Lucasfilm. In a very un-Star Wars-like fashion, the high octane footage is set to The Revolution Starts Now by Steve Earle and reminds viewers of how acclaimed the first season was. The drop shared more interesting news; the 12-episode season will be dropped in increments of three episodes at a time for four weeks. Phew!DC's duo of James Gunn and Peter Safran took time to have a press event last Friday where they updated us, the people, on where things are going with DC Studios. It's been just over two years since the big film and television overhaul with DC was announced, with Gunn and Safran taking control of the franchise. Gunn reiterated their desire to bring new stories to life with these characters. The updates included the following: Supergirl is halfway through production, Lanterns began production last week, Clayface will be directed by James Watkins and is eyeing a fall 2026 release, Sgt. Rock, still being directed by Luca Guadagnino, no longer has Daniel Craig attached and is looking for its new star, and the animated Robin movie, Dynamic Duo, is in pre-production. Lastly and perhaps most importantly, Gunn had some comments on The Brave and The Bold that some are taking as confirmation that Robert Pattinson will not be the DCU's Batman, with the filmmaker saying,“It's certainly not the plan.” And Safran added, “And we love him, but we've got to introduce a Batman into the DCU. That's imperative. And so that's the plan with The Brave and the Bold.”The James Bond movie franchise is going through a shake up, with Amazon MGM Studios and Michael G. Wilson and Barbara Broccoli forming a new joint venture to house the movie property's intellectual property rights. Under the terms of the agreement, Amazon MGM Studios will gain creative control of the James Bond franchise, while Wilson and Broccoli will remain co-owners of the 60-year-old property. In 2022, Amazon acquired MGM. Since the MGM acquisition, Amazon has held rights to distribute all of the James Bond films, and following completion of the joint venture transaction will control the creative on future productions.Season two of The Last of Us finally has a premiere date. The seven-episode season of the drama will debut April 13 on HBO. That means the season will complete its run in late May, just under the wire for Emmy eligibility this year.Jack O'Connell and Delroy Lindo, who will both star in Ryan Coolger's upcoming film Sinners, have joined the cast of Legendary's upcoming Monsterverse sequel to Godzilla x Kong.Kitao Sakurai, perhaps best known for writing, directing and exec producing The Eric Andre Show, has been tapped to direct Street Fighter, Legendary Entertainment's feature adaptation of the classic video game from Capcom.

Ken Coomer joins me on the podcast today. Ken is a fantastic drummer, producer, and studio owner, as well as one of the few musicians I know that is actually from Nashville! Ken is well-known as the original drummer for Wilco, as well as the last for Uncle Tupelo, bands that literally defined the alt-country genre in the mid-90's. But before that, Ken came up in the punk and alternative rock scene here in Nashville with his band Clockhammer, and since leaving Wilco in 2002, he has had an incredible career as a studio drummer and producer, operating most recently out of his studio just a few blocks away from me in East Nashville called Cartoon Moon Recording. Ken was heavily involved in the recording of Uncle Tupelo's classic “Anodyne”, as well as the Wilco albums “FM”, “Being There”, “Summerteeth”, “Yankee Hotel Foxtrot” and the “Mermaid Avenue” projects with Wilco and Billy Bragg. After his run with Wilco, Ken returned to Nashville to try his hand at session work and producing. He's played with and recorded on albums for Steve Earle, Will Hoge, Al Green, Tim Finn, Lucinda Williams, Emmylou Harris and many more. He's also had an incredible run producing some huge Spanish artists, which is an intriguing left-turn that his more recent career has taken, with artists like Chetes, and AppleTree - albums that were huge in Mexico and Columbia.It was great to have Ken drop in to speak about all of this amazing history. You can get all the latest info on Ken at kencoomermusic.com - enjoy my conversation with Ken Coomer!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodes.Visit us at: www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

Because there's so much more to Steve Earle than Copperhead Road, Jeff brings you select cuts from his stellar career of songwriting and performing, including from his acclaimed 2015 album Terraplane, plus a perfect in-concert Steve Earle story, and more.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Nick kicks things off with a recap of the 2025 Grammys. Dawes & friends celebrate L.A, Kendrick Lamar wins big, Beyonce finally wins album of the year, and Chappell Roan tells it like it is.Song: Dawes - “I Love L.A.”Greg is back with Round 10 of “Bangers & Mashups.” This round features mashups from Instagram creators and we listen to the latest from the master DJ Cummerbund.Songs:Harleysantana239 - Take the Power Back + James Brown Jimlapbap - Last Resort + Here Comes the SunJimlapbap - I Wanna Dance With Somebody + In The EndDJ Cummerbund - Everybody & The Sunshine BandJay wraps up the episode with an album he fell in love with in the early 2000's. Steve Earle first made it big in the Alt Country scene of the 1980s. Earle lived the rock and roll lifestyle a little too hard and wound up in prison for drug possession charges in the early 90s. Upon his release, he started his own label, embraced the clean life and released the album “I Feel Alright.” Jay shares some of his favorite songs from the album.Songs:Steve Earle - “Hardcore Troubadoor”Steve Earle - “Valentines Day”Steve Earle - “I Feel Alright (Live at Cold Creek Correctional Facility)”

The Waterboys' MIKE SCOTT grew up in the '60s in Edinburgh and said: “I accepted the incredible happenings of that decade — with all its rapid evolution, colour, revelations and magic — as the normal order of things".   At the age of 4 he had his first mystical experience and remembers that from the minute he bought "Last Night in Soho" by Dave Dee, Dozy, Beaky, Mick & Tich in 1968 he knew he had to live a life in music. In the years since he has toured the world with The Waterboys and as a solo artist, had hit records with The Whole of the Moon, This is the Sea and Fishermans Blues andhas released 15 albums.   Now, The Waterboys have a new one featuring Bruce Springsteen, Steve Earle and Fiona Apple about to drop and it's a song cycle around the life of legendary actor and countercultural polymath Dennis Hopper.     Mike has been unashamedly open about the importance of spirituality in his life - even when that has been deeply unfashionable in the mainstream culture. He came to the Bureau to talk about all of that, his time at the Findhorn Foundation, Life, Death and Dennis Hopper - and much more.  For Mike and his work, music and adventures Universal Hall   Findhorn Foundation   #thewaterboys #mikescott #brucespringsteen #findhorn #findhornfoundation #steveearle #fionaapple #ladbrokegrove #thewholeofthemoon #dennishopper

WEARY RAMBLERS are a newly formed Iowa folk duo that bring years of experience to the stage with award-winning songwriting and chemistry. Chad Elliott and Kathryn Fox showcase multi-instrumental performances with tight harmonies and great storytelling.JOHN MORELAND was born in Texas, moved to Northern Kentucky, across the river from Cincinnati, then to Tulsa Oklahoma and began performing when he was just 12 years old. Playing punk rock for several years, he turned to roots and folk after hearing Steve Earle. Three of Moreland's songs, “Heaven”, “Gospel”, and “Your Spell”, have been featured on the TV show, Sons of Anarchy. His latest album VISITOR was created after Moreland stepped away from the touring life and even set his smartphone aside for six full months.

Americana, Roots, Folk, Blues and Country music. Featured Artists . New and classic tracks. Episode includes Tanya Tucker, Eagles, The Wailin Jennys, Molly Tuttle and Steve Earle. Randy Meisner of the Eagles is featured.

On this week's show, we revisit albums that would've topped past year-end lists if they hadn't been blocked by Bruce Springsteen albums. We also revisit the pesky Bruce Springsteen records that blocked them. All this & much, much less! Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Happy 4th of July in December! It's BikeRides annual twisted take on their favorite holiday. Obscure mentions of the summer holiday explode in beautiful songs throughout the ride like a fountain of colorful, brilliant fire in your ears. Included: Mae Simpson; Steve Earle; Laura Jane Grace; Fallout Boy; Roger Daltrey; Fire/Works; John Mellencamp; Gary Cleghorn; Michael Stanely; Cold Play; John Prine

In this KEEN ON Andrew Keen special, guest host David Masciotra interviews Andrew about his controversial book Cult of the Amateur. While David generously describes it as prescient, Andrew focuses more on what the 2007 book got blatantly wrong - like dismissing Google's $1.5 billion acquisition of YouTube. Duh. What both David and Andrew agree on, however, is that the book'sn focus on the damage that the supposedly “democratizing” Web 2.0 revolution did to both our culture and politics is still of massive significance. Perhaps it might be time for a 20th anniversary rewrite, a Cult of the Amateur 2.0 for our brave new AI world. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen. His next book, Exurbia Now: Notes from the Battleground of American Democracy, is scheduled for publication from Melville House Books in 2024. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove. Masciotra lives in Indiana, and teaches literature and political science courses at the University of St. Francis and Indiana University Northwest. Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Guitarist and session ace Richard Bennett joins me on the show this week. Originally from Phoenix, Richard spent the first big chunk of his career in the 70's LA studio scene, before moving to Nashville in the 80's where he's been a mainstay in studios ever since. Richard is known as one of the ultimate sidemen and spent 17 years in Neil Diamond's band, playing on all of his records and tours from '71 to '87. Richard has had another long-term sideman gig playing guitar in Mark Knopfler's band since '94, and that continues to this day, touring in his band and playing on all of his records, including the latest “One Deep River” from this year. Aside from those impressive long-term gigs, Richard has played on countless sessions and gigs for artists like Roseanne Cash, Marty Stuart, Emmylou Harris, Steve Earle, Rodney Crowell, Iris Dement, and Waylon Jennings. He also loves to write and record his own music, and is constantly working on the next set of tunes to get into the studio to document. His latest is called “Talltale Tunes” and it's a killer record of great playing, tone and creativity. Richard is also an in-demand producer and has helmed an impressive list of albums in the last few decades as well. He had a huge role in the Nashville session scene of the 80's and 90's that continues to thrive, and I loved getting a chance to hear about that era of Nashville. I've spent the last year playing in a band with Richard called The Volcano Brothers, playing all 1920's and 30's Hawaiian music, with Richard playing ukulele. While we just play tiny local gigs around Nashville with that band, I still get to see and hear Richard's amazing touch on his instruments, and the dedication and the preparation that he puts into every show, no matter how small! He's an incredible musician, an encouraging band-mate, and an inspiring person to be around, and we had a very enjoyable conversation about his history in music and the recording studio. You can get all the latest on Richard at richard-bennett.com - Enjoy my conversation with Richard Bennett!This season is brought to you by our sponsors Larivée Guitars and Fishman AmplificationYou can join our Patreon here to get all episodes ad-free, as well as access to all early episodesThe show's website can be found at www.makersandshakerspodcast.com Get ad-free episodes and access to all early episodes by subscribing to Patreon. Hosted on Acast. See acast.com/privacy for more information.

So how can The Dude and The Boss save America? According to the cultural critic, David Masciotra, Jeffrey "The Dude" Lebowski and Bruce “The Boss” Springsteen, represent the antithesis of Donald Trumps's illiberal authoritarianism. Masciotra's thesis of Lebowski and Springsteen as twin paragons of American liberalism is compelling. Both men have a childish faith in the goodness of others. Both offer liberal solace in an America which, I fear, is about to become as darkly surreal as The Big Lebowski. Transcript:“[Springsteen] represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance.” -David MasciotraAK: Hello, everybody. We're still processing November the 5th. I was in the countryside of Northern Virginia a few days ago, I saw a sign, for people just listening, Trump/Vance 2024 sign with "winner" underneath. Some people are happy. Most, I guess, of our listeners probably aren't, certainly a lot of our guests aren't, my old friend John Rauch was on the show yesterday talking about what he called the "catastrophic ordinariness" of the election and of contemporary America. He authored two responses to the election. Firstly, he described it in UnPopulist as a moral catastrophe. But wearing his Brookings hat, he's a senior fellow at the Brookings Institute, described it as an ordinary election. I think a lot of people are scratching their head, trying to make sense of it. Another old friend of the show, David Masciotra, cultural writer, political writer. An interesting piece in the Washington Monthly entitled "How Francis Fukuyama and The Big Lebowski Explain Trump's Victory." A very creative piece. And he is joining us from Highland Indiana, not too far from Chicago. David. The Big Lebowski and Francis Fukuyama. Those two don't normally go together, certainly in a title. Let's talk first about Fukuyama. How does Fukuyama explain November the 5th? DAVID MASCIOTRA: In his. Well, first, thanks for having me. And I should say I watched your conversation with Jonathan Rauch, and it was quite riveting and quite sobering. And you talked about Fukuyama in that discussion as well. And you referenced his book, The End of History and the Last Man, a very often misinterpreted book, but nonetheless, toward its conclusion, Fukuyama warns that without an external enemy, liberal democracies may indeed turn against themselves, and we may witness an implosion rather than an explosion. And Fukuyama said that this won't happen so much for ideological reasons, but it will happen for deeply psychological ones, namely, without a just cause for which to struggle, people will turn against the just cause itself, which in this case is liberal democracy, and out of a sense of boredom and alienation, they'll grow increasingly tired of their society and cultivate something of a death wish in which they enjoy imagining their society's downfall, or at least the downfall of some of the institutions that are central to their society. And now I would argue that after the election results, we've witnessed the transformation of imagining to inviting. So, there is a certain death wish and a sense of...alienation and detachment from that which made the United States of America a uniquely prosperous and stable country with the ability to self-correct the myriad injustices we know are part of its history. Well now, people--because they aren't aware of the institutions or norms that created this robust engine of commerce and liberty--they've turned against it, and they no longer invest in that which is necessary to preserve it.AK: That's interesting, David. The more progressives I talk to about this, the more it--there's an odd thing going on--you're all sounding very conservative. The subtitle of the piece in the Washington Monthly was "looking at constituencies or issues misses the big point. On Tuesday, nihilism was on display, even a death wish in a society wrought by cynicism." Words like nihilism and cynicism, David, historically have always been used by people like Allan Blum, whose book, of course, The Closing of the American Mind, became very powerful amongst American conservatives now 40 or 50 years ago. Would you accept that using language like nihilism and cynicism isn't always associated--I mean, you're a proud progressive. You're a man of the left. You've never disguised that. It's rather odd to imagine that the guys like you--and in his own way, John Rauch too, who talks about the moral catastrophe of the election couple of weeks ago. You're all speaking about the loss of morality of the voter, or of America. Is there any truth to that? Making some sense?DAVID MASCIOTRA: That's a that's a fair observation. And Jonathan Rauch, during your conversation and in his own writing, identifies a center right. I would say I'm center left.AK: And he's--but what's interesting, what ties you together, is that you both use the L-word, liberal, to define yourselves. He's perhaps a liberal on the right. You're a liberal on the left.DAVID MASCIOTRA: Yes. And I think that the Trump era, if we can trace that back to 2015, has made thoughtful liberals more conservative in thought and articulation, because it forces a confrontation and interrogation of a certain naivete. George Will writes in his book, The Conservative Sensibility, that the progressive imagines that which is the best possible outcome and strives to make it real, whereas the conservative imagines the worst possible outcome and does everything he can to guard against it. And now it feels like we've experienced, at least electorally, the worst possible outcome. So there a certain revisitation of that which made America great, to appropriate a phrase, and look for where we went wrong in failing to preserve it. So that kind of thinking inevitably leads one to use more conservative language and deal in more conservative thought.AK: Yeah. So for you, what made America great, to use the term you just introduced, was what? Its morality? The intrinsic morality of people living in it and in the country? Is that, for you, what liberalism is?DAVID MASCIOTRA: Liberalism is a system in and the culture that emanates out of that system. So it's a constitutional order that creates or that places a premium on individual rights and allows for a flourishing free market. Now, where my conception of liberalism would enter the picture and, perhaps Jonathan Rauch and I would have some disagreements, certainly George Will and I, is that a bit of governmental regulation is necessary along with the social welfare state, to civilize the free market. But the culture that one expects to flow from that societal order and arrangement is one of aspiration, one in which citizens fully accept that they are contributing agents to this experiment in self-governance and therefore need to spend time in--to use a Walt Whitman phrase--freedom's gymnasium. Sharpening the intellect, sharpening one's sense of moral duty and obligation to the commons, to the public good. And as our society has become more individualistic and narcissistic in nature, those commitments have vanished. And as our society has become more anti-intellectual in nature, we are seeing a lack of understanding of why those commitments are even necessary. So that's why you get a result like we witnessed on Tuesday, and that I argue in my piece that you were kind enough to have me on to discuss, is a form of nihilism, and The Big Lebowski reference, of course--AK: And of course, I want to get to Lebowski, because the Fukuyama stuff is interesting, but everyone's writing about Fukuyama and the end of history and why history never really ended, of course. It's been going on for years now, but it's a particularly interesting moment. We've had Fukuyama on the show. I've never heard anyone, though, compare the success of Trump and Trumpism with The Big Lebowski. So, one of the great movies, of course, American movies. What's the connection, David, between November 5th and The Big Lebowski? DAVID MASCIOTRA: Well, The Big Lebowski is one of my favorite films. I've written about it, and I even appeared at one of the The Big Lebowski festivals that takes place in United States a number of years ago. But my mind went to the scene when The Dude is in his bathtub and these three menacing figures break into his apartment. They drop a gerbil in the bathtub. And The Dude, who was enjoying a joint by candlelight, is, of course, startled and frightened. And these three men tell him that if he does not pay the money they believe he owes them, they will come back and, in their words, "cut off your Johnson." And The Dude gives them a quizzical, bemused look. And one of them says, "You think we are kidding? We are nihilists. We believe in nothing." And then one of them screams, "We'll cut off your Johnson." Well, I thought, you know, we're looking at an electorate that increasingly, or at least a portion of the electorate, increasingly believes in nothing. So we've lost faith.AK: It's the nihilists again. And of course, another Johnson in America, there was once a president called Johnson who enjoyed waving his Johnson, I think, around in public. And now there's the head of the house is another Johnson, I think he's a little shyer than presidents LBJ. But David, coming back to this idea of nihilism. It often seems to be a word used by people who don't like what other people think and therefore just write it off as nihilism. Are you suggesting that the Trump crowd have no beliefs? Is that what nihilism for you is? I mean, he was very clear about what he believes in. You may not like it, but it doesn't seem to be nihilistic.DAVID MASCIOTRA: That's another fair point. What I'm referring to is not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms. It's very difficult to imagine had George H. W. Bush attempted to steal the election in which Bill Clinton won, that George H. W. Bush could have run again and won. So we've lost faith in something essential to our electoral system. We've lost faith in the standards of decency that used to, albeit imperfectly, regulate our national politics. So the man to whom I just refered, Bill Clinton, was nearly run out of office for having an extramarital affair, a misdeed that cannot compare to the myriad infractions of Donald Trump. And yet, Trump's misdeeds almost give him a cultural cachet among his supporters. It almost makes him, for lack of a better word, cool. And now we see, even with Trump's appointments, I mean, of course, it remains to be seen how it plays out, that we're losing faith in credentials and experience--AK: Well they're certainly a band of outlaws and very proud to be outlaws. It could almost be a Hollywood script. But I wonder, David, whether there's a more serious critique here. You, like so many other people, both on the left and the right, are nostalgic for an age in which everyone supposedly agreed on things, a most civil and civilized age. And you go back to the Bushes, back to Clinton. But the second Bush, who now seems to have appeared as this icon, at least moral icon, many critics of Trump, was also someone who unleashed a terrible war, killing tens of thousands of people, creating enormous suffering for millions of others. And I think that would be the Trump response, that he's simply more honest, that in the old days, the Bushes of the world can speak politely and talk about consensus, and then unleash terrible suffering overseas--and at home in their neoliberal policies of globalization--Trump's simply more honest. He tells it as it is. And that isn't nihilistic, is it?DAVID MASCIOTRA: Well, you are gesturing towards an important factor in our society. Trump, of course, we know, is a dishonest man, a profoundly dishonest--AK: Well, in some ways. But in other ways, he isn't. I mean, in some ways he just tells the truth as it is. It's a truth we're uncomfortable with. But it's certainly very truthful about the impact of foreign wars on America, for example, or even the impact of globalization. DAVID MASCIOTRA: What you're describing is an authenticity. That that Trump is authentic. And authenticity has become chief among the modern virtues, which I would argue is a colossal error. Stanley Crouch, a great writer, spent decades analyzing the way in which we consider authenticity and how it inevitably leads to, to borrow his phrase, cast impurity onto the bottom. So anything that which requires effort, refinement, self-restraint, self-control, plays to the crowd as inauthentic, as artificial--AK: Those are all aristocratic values that may have once worked but don't anymore. Should we be nostalgic for the aristocratic way of the Bushes?DAVID MASCIOTRA: I think in a certain respect, we should. We shouldn't be nostalgic for George W. Bush's policies. I agree with you, the war in Iraq was catastrophic, arguably worse than anything Trump did while he was president. His notoriously poor response to Hurricane Katrina--I mean, we can go on and on cataloging the various disasters of the Bush administration. However, George W. Bush as president and the people around him did have a certain belief in the liberal order of the United States and the liberal order of the world. Institutions like NATO and the EU, and those institutions, and that order, has given the United States, and the world more broadly, an unrivaled period of peace and prosperity.AK: Well it wasn't peace, David. And the wars, the post-9/11 wars, were catastrophic. And again, they seem to be just facades--DAVID MASCIOTRA: We also had the Vietnam War, the Korean War. When I say peace, I mean we didn't have a world war break out as we did in the First World War, in the Second World War. And that's largely due to the creation and maintenance of institutions following the Second World War that were aimed at the preservation of order and, at least, amicable relations between countries that might otherwise collide.AK: You're also the author, David, of a book we've always wanted to talk about. Now we're figuring out a way to integrate it into the show. You wrote a book, an interesting book, about Bruce Springsteen. Working on a Dream: the Progressive Political Vision of Bruce Springsteen. Bruce Springsteen has made himself very clear. He turned out for Harris. Showed up with his old friend, Barack Obama. Clearly didn't have the kind of impact he wanted. You wrote an interesting piece for UnHerd a few weeks ago with the title, "Bruce Springsteen is the Last American Liberal: he's still proud to be born in the USA." Is he the model of a liberal response to the MAGA movement, Springsteen? DAVID MASCIOTRA: Well, of course, I wouldn't go so far as to say the last liberal. As most readers just probably know, writers don't compose their own headlines--AK: But he's certainly, if not the last American liberal, the quintessential American liberal.DAVID MASCIOTRA: Yes. He represents, as cultural icon, a certain expression of liberalism, a big-hearted, humanistic liberalism that exercises creativity to represent diverse constituencies in our society, that believes in art as a tool of democratic engagement, and that seeks to lead with an abounding, an abiding sense of compassion and empathy. That is the kind of liberalism, both with the small and capital L, that I believe in, and that I have spent my career documenting and attempting to advance. And those are, of course, the forms of liberalism that now feel as if they are under threat. Now, to that point, you know, this could have just come down to inflation and some egregious campaign errors of Kamala Harris. But it does feel as if when you have 70 some odd million people vote for the likes of Donald Trump, that the values one can observe in the music of Bruce Springsteen or in the rhetoric of Barack Obama, for that matter, are no longer as powerful and pervasive as they were in their respective glory days. No pun intended.AK: Yeah. And of course, Springsteen is famous for singing "Glory Days." I wonder, though, where Springsteen himself is is a little bit more complex and we might be a little bit more ambivalent about him, there was a piece recently about him becoming a billionaire. So it's all very well him being proud to be born in the USA. He's part--for better or worse, I mean, it's not a criticism, but it's a reality--he's part of the super rich. He showed out for Harris, but it didn't seem to make any impact. You talked about the diversity of Springsteen. I went to one of his concerts in San Francisco earlier this year, and I have to admit, I was struck by the fact that everyone, practically everyone at the concert, was white, everyone was wealthy, everyone paid several hundred dollars to watch a 70 year old man prance around on stage and behave as if he's still 20 or 30 years old. I wonder whether Springsteen himself is also emblematic of a kind of cultural, or political, or even moral crisis of our old cultural elites. Or am I being unfair to Springsteen?DAVID MASCIOTRA: Well, I remember once attending a Springsteen show in which the only black person I saw who wasn't an employee of the arena was Clarence Clemons.AK: Right. And then Bruce, of course, always made a big deal. And there was an interesting conversation when Springsteen and Obama did a podcast together. Obama, in his own unique way, lectured Bruce a little bit about Clarence Clemons in terms of his race. But sorry. Go on.DAVID MASCIOTRA: Yeah. And Springsteen has written and discussed how he had wished he had a more diverse audience. When I referred to diversity in his music, I meant the stories he aimed to tell in song certainly represented a wide range of the American experience. But when you talk about Springsteen, perhaps himself representing a moral crisis--AK: I wouldn't say a crisis, but he represents the, shall we say, the redundancy of that liberal worldview of the late 20th century. I mean, he clearly wears his heart on his sleeve. He means well. He's not a bad guy. But he doesn't reach a diverse audience. His work is built around the American working class. None of them can afford to show up to what he puts on. I mean, Chris Christie is a much more typical fan than the white working class. Does it speak of the fact that there's a...I don't know if you call it a crisis, it's just...Springsteen isn't relevant anymore in the America of the 2020s, or at least when he sang and wrote about no longer exists.DAVID MASCIOTRA: Yes, I agree with that. So first of all, the working class bit was always a bit overblown with Springsteen. Springsteen, of course, was never really part of the working class, except when he was a child. But by his own admission, he never had a 9 to 5 job. And Springsteen sang about working class life like William Shakespeare wrote about teenage love. He did so with a poetic grandeur that inspired some of his best work. And outside looking in, he actually managed to offer more insights than sometimes people on the inside can amount to themselves. But you're certainly correct. I mean, the Broadway show, for example, when the tickets were something like a thousand a piece and it was $25 to buy a beer. There is a certain--AK: Yeah and in that Broadway show, which I went to--I thought it was astonishing, actually, a million times better than the show in San Francisco.DAVID MASCIOTRA: It was one of the best things he ever did.AK: He acknowledges that he made everything up, that he wasn't part of the American working class, and that he'd never worked a day in his life, and yet his whole career is is built around representing a social class and a way of life that he was never part of.“Not too long ago, we lived in a country that had a shared set of values. Those values have vanished. And those values involve adherence to our democratic norms.” -DMDAVID MASCIOTRA: Right. And he has a lyric himself: "It's a sad, funny ending when you find yourself pretending a rich man in a poor man's shirt." So there always was this hypocrisy--hypocrisy might be a little too strong--inconsistency. And he adopted a playful attitude toward it in the 90s and in later years. But to your point of relevance, I think you're on to something there. One of the crises I would measure in our society is that we no longer live in a culture of ambition and aspiration. So you hear this when people say that they want a political leader who talks like the average person, or the common man. And you hear this when "college educated" is actually used as an insult against a certain base of Democratic voters. There were fewer college-educated voters when John F. Kennedy, Richard Nixon, Ronald Reagan ran for president, all of whom spoke with greater eloquence and a more expansive vocabulary and a greater sense of cultural sophistication than Donald Trump or Kamala Harris did. And yet there was no objection, because people understood that we should aspire to something more sophisticated. We should aspire to something more elevated beyond the everyday vernacular of the working class. And for that reason, Springsteen was able to become something of a working-class poet, despite never living among the working class beyond his childhood. Because his poetry put to music represented something idealistic about the working class.AK: But oddly enough, it was a dream--there's was a word that Springsteen uses a lot in his work--that was bought by the middle class. It wasn't something that was--although, I think in the early days, probably certainly in New Jersey, that he had a more working-class following.DAVID MASCIOTRA: We have to deal with the interesting and frustrating reality that the people about whom Springsteen sings in those early songs like "Darkness on the Edge of Town" or "The River" would probably be Trump supporters if they were real.AK: Yeah. And in your piece you refer to, not perhaps one of his most famous albums, The Rising, but you use it to compare Springsteen with another major figure now in America, much younger man to Ta-Nehisi Coates, who has a new book out, which is an important new book, The Message. You seem to be keener on Springsteen than Coates. Tell us about this comparison and what the comparison tells us about the America of the 2020s.DAVID MASCIOTRA: Well, Coates...the reason I make the comparison is that one of Springsteen's greatest artistic moments, in which he kind of resurrected his status as cultural icon, was the record he put out after the 9/11 attack on the United States, The Rising. And throughout that record he pays tribute, sometimes overtly, sometimes subtly, to the first responders who ascended in the tower knowing they would perhaps die.AK: Yeah. You quote him "love and duty called you someplace higher." So he was idealizing those very brave firefighters, policemen who gave up their lives on 9/11.DAVID MASCIOTRA: Exactly. Representing the best of humanity. Whereas Ta-Nehisi Coates, who has become the literary superstar of the American left, wrote in his memoir that on 9/11, he felt nothing and did not see the first responders as human. Rather, they were part of the fire that could, in his words, crush his body.AK: Yeah, he wrote a piece, "What Is 9/11 to Descendants of Slaves?"DAVID MASCIOTRA: Yes. And my point in making that comparison, and this was before the election, was to say that the American left has its own crisis of...if we don't want to use the word nihilism, you objected to it earlier--AK: Well, I'm not objecting. I like the word. It's just curious to hear it come from somebody like yourself, a man, certainly a progressive, maybe not--you might define yourself as being on the left, but certainly more on the left and on the right.DAVID MASCIOTRA: Yes, I would agree with that characterization. But that the left has its own crisis of nihilism. If if you are celebrating a man who, despite his journalistic talents and intelligence, none of which I would deny, refused to see the humanity of the first responders on the 9/11 attack and, said that he felt nothing for the victims, presumably even those who were black and impoverished, then you have your own crisis of belief, and juxtaposing that with the big hearted, humanistic liberalism of Springsteen for me shows the left a better path forward. Now, that's a path that will increasingly close after the victory of Trump, because extremism typically begets extremism, and we're probably about to undergo four years of dueling cynicism and rage and unhappy times.AK: I mean, you might respond, David, and say, well, Coates is just telling the truth. Why should a people with a history of slavery care that much about a few white people killed on 9/11 when their own people lost millions through slavery? And you compare them to Springsteen, as you've acknowledged, a man who wasn't exactly telling the truth in his heart. I mean, he's a very good artist, but he writes about a working class, which even he acknowledges, he made most of it up. So isn't Coates like Trump in an odd kind of way, aren't they just telling an unvarnished truth that people don't want to hear, an impolite truth?DAVID MASCIOTRA: I'm not sure. I typically shy away from the expression "my truth" or "his truth" because it's too relativistic. But I'll make an exception in this case. I think Coates is telling HIS truth just as Trump is telling HIS truth, if that adds up to THE truth, is much more dubious. Yes, we could certainly say that, you know, because the United States enslaved, tortured, and otherwise oppressed millions of black people, it may be hard for some black observers to get teary eyed on 9/11, but the black leaders whom I most admire didn't have that reaction. I wrote a book about Jesse Jackson after spending six years interviewing with him and traveling with him. He certainly didn't react that way on 9/11. Congressman John Lewis didn't react that way on 9/11. So, the heroes of the civil rights movement, who helped to overcome those brutal systems of oppression--and I wouldn't argue that they're overcome entirely, but they helped to revolutionize the United States--they maintained a big-hearted sense of empathy and compassion, and they recognized that the unjust loss of life demands mourning and respect, whether it's within their own community or another. So I would say that, here again, we're back to the point of ambition, whether it's intellectual ambition or moral ambition. Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion. And that is why the country--the slim majority of the electorate that did vote and the 40% of the electorate that did not vote, or voting-age public, I should say--settled for the likes of Donald Trump.AK: I wonder what The Dude would do, if he was around, at the victory of Trump, or even at 9/11. He'd probably continue to sit in the bath tub and enjoy...enjoy whatever he does in his bathtub. I mean, he's not a believer. Isn't he the ultimate nihilist? The Dude in Lebowski?DAVID MASCIOTRA: That's an interesting interpretation. I would say that...Is The Dude a nihilist? You have this juxtaposition... The Dude kind of occupies this middle ground between the nihilists who proudly declare they believe in nothing and his friend Walter Sobchak, who's, you know, almost this raving explosion of belief. Yeah, ex-Vietnam veteran who's always confronting people with his beliefs and screaming and demanding they all adhere to his rules. I don't know if The Dude's a nihilist as much as he has a Zen detachment.AK: Right, well, I think what makes The Big Lebowski such a wonderful film, and perhaps so relevant today, is Lebowski, unlike so many Americans is unjudgmental. He's not an angry man. He's incredibly tolerant. He accepts everyone, even when they're beating him up or ripping him off. And he's so, in that sense, different from the America of the 2020s, where everyone is angry and everyone blames someone else for whatever's wrong in their lives.DAVID MASCIOTRA: That's exactly right.AK: Is that liberal or just Zen? I don't know.DAVID MASCIOTRA: Yeah. It's perhaps even libertarian in a sense. But there's a very interesting and important book by Justin Tosi and Brandon Warmke called Why It's Okay to Mind Your Own Business. And in it they argue--they're both political scientists although the one may be a...they may be philosophers...but that aside--they present an argument for why Americans need to do just that. Mind their own business.AK: Which means, yeah, not living politics, which certainly Lebowski is. It's probably the least political movie, Lebowski, I mean, he doesn't have a political bone in his body. Finally, David, there there's so much to talk about here, it's all very interesting. You first came on the show, you had a book out, that came out either earlier this year or last year. Yeah, it was in April of this year, Exurbia Now: The Battleground of American Democracy. And you wrote about the outskirts of suburbia, which you call "exurbia." Jonathan Rauch, wearing his Brookings cap, described this as an ordinary election. I'm not sure how much digging you've done, but did the exurbian vote determine this election? I mean, the election was determined by a few hundred thousand voters in the Midwest. Were these voters mostly on the edge of the suburb? And I'm guessing most of them voted for Trump.DAVID MASCIOTRA: Well, Trump's numbers in exurbia...I've dug around and I've been able to find the exurbian returns for Pennsylvania, North Carolina, and Arizona. So three crucial swing states. If Kamala Harris had won those three states, she would be president. And Trump's support in exurbia was off the charts, as it was in 2020 and 2016, and as I predicted, it would be in 2024. I'm not sure that that would have been sufficient to deliver him the race and certainly not in the fashion that he won. Trump made gains with some groups that surprised people, other groups that didn't surprise people, but he did much better than expected. So unlike, say, in 2016, where we could have definitively and conclusively said Trump won because of a spike in turnout for him in rural America and in exurbia, here, the results are more mixed. But it remains the case that the base most committed to Trump and most fervently loyal to his agenda is rural and exurban.AK: So just outside the cities. And finally, I argued, maybe counterintuitively, that America remains split today as it was before November the 5th, so I'm not convinced that this election is the big deal that some people think it is. But you wrote an interesting piece in Salon back in 2020 arguing that Trump has poisoned American culture, but the toxin was here all along. Of course, there is more, if anything, of that toxin now. So even if Harris had won the election, that toxin was still here. And finally, David, how do we get rid of that toxin? Do we just go to put Bruce Springsteen on and go and watch Big Lebowski? I mean, how do we get beyond this toxin?DAVID MASCIOTRA: I would I would love it if that was the way to do it.AK: We'll sit in our bathtub and wait for the thugs to come along?DAVID MASCIOTRA: Right, exactly. No, what you're asking is, of course, the big question. We need to find a way to resurrect some sense of, I'll use another conservative phrase, civic virtue. And in doing--AK: And resurrection, of course, by definition, is conservative, because you're bringing something back.“Ambition is what allows a society to grow. And it seems like ambition has fallen far out of fashion.” -DMDAVID MASCIOTRA: Exactly. And we also have to resurrect, offer something more practical, we have to resurrect a sense of civics. One thing on which--I have immense respect and admiration for Jonathan Rauch--one minor quibble I would have with him from your conversation is when he said that the voters rejected the liberal intellectual class and their ideas. Some voters certainly rejected, but some voters were unaware. The lack of civic knowledge in the United States is detrimental to our institutions. I mean, a majority of Americans don't know how many justices are on the Supreme Court. They can't name more than one freedom enumerated in the Bill of Rights. So we need to find a way to make citizenship a vital part of our national identity again. And there are some practical means of doing that in the educational system. Certainly won't happen in the next four years. But to get to the less tangible matter of how to resurrect something like civic virtue and bring back ambition and aspiration in our sense of national identity, along with empathy, is much tougher. I mean, Robert Putnam says it thrives upon community and voluntary associations.AK: Putnam has been on the show, of course.DAVID MASCIOTRA: Yeah. So, I mean, this is a conversation that will develop. I wish I had the answer, and I wish it was just to listen to Born to Run in the bathtub with with a poster of The Dude hanging overhead. But as I said to you before we went on the air, I think that you have a significant insight to learn this conversation because, in many ways, your books were prescient. We certainly live with the cult of the amateur now, more so than when you wrote that book. So, I'd love to hear your ideas.AK: Well, that's very generous of you, David. And next time we appear, you're going to interview me about why the cult of the amateur is so important. So we will see you again soon. But we're going to swap seats. So, David will interview me about the relevance of Cult of the Amateur. Wonderful conversation, David. I've never thought about Lebowski or Francis Fukuyama, particularly Lebowski, in terms of what happened on November 5th. So, very insightful. Thank you, David, and we'll see you again in the not-too-distant future.DAVID MASCIOTRA: Thank you. I'm going to reread Cult of the Amateur to prepare. I may even do it in the bathtub. I look forward to our discussion.David Masciotra is an author, lecturer, and journalist. He is the author of I Am Somebody: Why Jesse Jackson Matters (I.B. Tauris, 2020), Mellencamp: American Troubadour (University Press of Kentucky), Barack Obama: Invisible Man (Eyewear Publishers, 2017), and Metallica by Metallica, a 33 1/3 book from Bloomsbury Publishers, which has been translated into Chinese. In 2010, Continuum Books published his first book, Working On a Dream: The Progressive Political Vision of Bruce Springsteen.His 2024 book, Exurbia Now: Notes from the Battleground of American Democracy, is published by Melville House Books. Masciotra writes regularly for the New Republic, Washington Monthly, Progressive, the Los Angeles Review of Books, CrimeReads, No Depression, and the Daily Ripple. He has also written for Salon, the Daily Beast, CNN, Atlantic, Washington Post, AlterNet, Indianapolis Star, and CounterPunch. Several of his political essays have been translated into Spanish for publication at Korazon de Perro. His poetry has appeared in Be About It Press, This Zine Will Change Your Life, and the Pangolin Review. Masciotra has a Master's Degree in English Studies and Communication from Valparaiso University. He also has a Bachelor's Degree in Political Science from the University of St. Francis. He is public lecturer, speaking on a wide variety of topics, from the history of protest music in the United States to the importance of bars in American culture. David Masciotra has spoken at the University of Wisconsin, University of South Carolina, Lewis University, Indiana University, the Chicago Public Library, the Lambeth Library (UK), and an additional range of colleges, libraries, arts centers, and bookstores. As a journalist, he has conducted interviews with political leaders, musicians, authors, and cultural figures, including Jesse Jackson, John Mellencamp, Noam Chomsky, all members of Metallica, David Mamet, James Lee Burke, Warren Haynes, Norah Jones, Joan Osborne, Martín Espada, Steve Earle, and Rita Dove. Masciotra lives in Indiana, and teaches literature and political science courses at the University of St. Francis and Indiana University Northwest. Named as one of the "100 most connected men" by GQ magazine, Andrew Keen is amongst the world's best known broadcasters and commentators. In addition to presenting KEEN ON, he is the host of the long-running How To Fix Democracy show. He is also the author of four prescient books about digital technology: CULT OF THE AMATEUR, DIGITAL VERTIGO, THE INTERNET IS NOT THE ANSWER and HOW TO FIX THE FUTURE. Andrew lives in San Francisco, is married to Cassandra Knight, Google's VP of Litigation & Discovery, and has two grown children.Keen On is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit keenon.substack.com/subscribe

Joe Kendrick speaks with Steve Earle by video call in June 2024, a conversation which took place after losing Jeremy Tepper just two days before, a conversation where he talks about his rigorous summer tour, his relationship with his music before he became sober, his favorite cover songs from both artists covering his music and vice versa, aspirations to record Irish music and perhaps even a jazz record, and memories of growing up in the midst of musical greats like Doug Sahm. All that and more, including his love of North Carolina trout fishing as well as music from Steve Earle's latest album, Alone Again (Live)

On this week's show, we listen to a bunch of  Bruce Springsteen songs that helped me get through the first Orange Thanos administration and will hopefully help us all get through the next four years. All this & much, much less. Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

On this week's show, we encourage anyone who's undecided as to who they're going to VOTE for - or if they're even going to VOTE -  to exercise the sacred right and privilege to VOTE. Debts No Honest Man Can Pay started in 2003 at WHFR-FM (Dearborn, MI), moved to WGWG-FM (Boiling Springs, NC) in 2006 & Plaza Midwood Community Radio (Charlotte, NC) in 2012, with a brief pit-stop at WLFM-FM (Appleton, WI) in 2004.

Over the course of her nearly forty-year career, singer-songwriter Jill Sobule has earned a singular spot in the American songbook. Best known for her breakout 1995 singles “Supermodel” (from the “Clueless” soundtrack) and “I Kissed a Girl” (which came out more than 10 years before the Katy Perry hit of the same name), her quirky, heartfelt, cheer-filled songs are difficult to categorize: she sings about the death penalty, anorexia, shoplifting, the French Resistance, LGBTQ issues and Mexican wrestling.  In another decade, Jon Pareles, the chief pop music critic of The New York Times, wrote that she stands “among the stellar New York singer-songwriters of the last decade”—high praise that has surely applied in all subsequent decades.      Jill's songs are enchanting, disarmingly funny and achingly poignant, and many of them are featured in her Drama Desk-nominated autobiographical musical "F*ck 7th Grade," which premiered at the Wild Project in NYC in 2022 and returns for a limited engagement in November 2024.  “We didn't have to create a story around these songs,” she says of the show, which she really, really hopes isn't dismissed as just another jukebox musical featuring songs from an artist's back catalogue. “These songs are my story. I just wrote a few more to fill out the narrative.” Jill joins us on the podcast to discuss her rich and varied career as one of the music industry's most uniquely collaborative artists. She's performed with musicians such as Neil Young, Billy Bragg, Steve Earle, Cyndi Lauper, and Warren Zevon, and once released a concept album of original music with lyrics written by some of her favorite writers, including Jonathan Lethem, Rick Moody, Mary Jo Salter, Vendela Vida, and David Hajdu. She regularly tours with comedian/actress/author Julia Sweeney in their two-woman “Jill & Julia” show. Two highlights from the very many cool, pinch me-type moments that have stamped Jill Sobule's remarkable career: she inducted Neil Diamond into the Songwriter's Hall of Fame, and she appeared as herself on an episode of “The Simpsons.”  So, you know, there's that.  Learn more about Jill Sobule: Website Patreon Instagram Threads Facebook Twitter Please support the sponsors who support our show: Ritani Jewelers Chelsea Devantez's I Shouldn't Be Telling You This Daniel Paisner's Balloon Dog  Daniel Paisner's SHOW: The Making and Unmaking of a Network Television Pilot Unforgiving: Lessons from the Fall by Lindsey Jacobellis Film Movement Plus (PODCAST) | 30% discount Libro.fm (ASTOLDTO) | 2 audiobooks for the price of 1 when you start your membership Film Freaks Forever! podcast, hosted by Mark Jordan Legan and Phoef Sutton Everyday Shakespeare podcast A Mighty Blaze podcast The Writer's Bone Podcast Network Misfits Market (WRITERSBONE) | $15 off your first order  Film Movement Plus (PODCAST) | 30% discount Wizard Pins (WRITERSBONE) | 20% discount

Adam Traum is an interpreter of traditional roots music and draws on those styles in his songwriting as well as the covers he chooses. He cross-pollinates Americana genres, blending folk, blues, bluegrass, rockabilly and country-blues music with an occasional jazz chord. When Traum performs he brings a warmth to the stage and puts on a well-polished show, whether he is playing as a solo artist at an intimate house concert or for a festival crowd backed by his potent band. Adam's influences include Ry Cooder, Taj Mahal, John Hiatt, Steve Earle, Mississippi John Hurt and Rev. Gary Davis, to name a few. Traum gigs and teaches throughout the San Francisco Bay Area and nationally. He has instructional guitar, ukulele and mandolin lessons on Homespun Music Instruction. In this podcast Adam talks about the loss of his father, Musician and innovator Happy Traum, find out more about Adam Here: https://www.homespun.com https://www.adamtraumguitar.com

Ken Coomer is a producer best known for his drumming in Uncle Tupelo and later Wilco. He was the drummer and co-founder of the Nashville-based band, Clockhammer, in the late 1980s/early 1990s. As a member of Wilco, Coomer has performed on A.M., Being There, Summerteeth, and Yankee Hotel Foxtrot. Ken has also played on or produced albums by Steve Earle, Frontier Ruckus, Arlo McKinley, Sons of Bill, Tim Finn, Will Hoge, Jars of Clay, Emmylou Harris, Toy Horses, Malcolm Holcombe, Josh Hoyer and Soul Colossal and Shaver. In this episode, Ken talks about:    Drumming skills that hold value in the studio    Why drummers can make great producers    Touch and feel over fancy gear    How he started producing    Working with latin artists    Mixing remote tracking with in-person recording Staying focused on the future

Matt Keating is a fantastic songwriter from New York City. We talk about his solo career, Steve Earle, living near the World Trade Center, opening for the Cranberries and ummmm…DAVID BOWIE! You can catch him on Thursday at the Driftwood in MPLS with his band “The Bastards of Fine Arts”. Great guy and fun conversation.

It's back to school season and we're back to taking listener requests! That's not really the theme of the episode, but it is true. This week we cover two listener requests for two versions of the same song! First up, we listen to "Nothing But a Child" as performed by Robin and Linda Williams for the Prairie Home Christmas compilation album or audiobook or live broadcast or whatever the case may actually be. Then we visit the original (and much twangier) version by Steve Earle. The ranking music in this episode is "A Baby Changes Everything" by Faith Hill. Thank you to Patricia and Liam for these requests!

In this 1548th episode of Toronto Mike'd, Mike chats with musician Chris Birkett about his life in music, recording and producing Sinéad O'Connor's iconic “Nothing Compares 2 U,” collaborting with other A-list artists like Talking Heads, Dexys Midnight Runners, Alison Moyet, The Pogues, Buffy Sainte-Marie, Quincy Jones, Mel Brooks and Steve Earle and recording his own music. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Ridley Funeral Home, The Advantaged Investor podcast from Raymond James Canada, and RecycleMyElectronics.ca. If you would like to support the show, we do have partner opportunities available. Please email Toronto Mike at mike@torontomike.com

For this episode, Will Rigby—drummer for the seminal indie rock band the dB's—introduces Al to Cheri Knight's 1998 album, The Northeast Kingdom. Will talks about his experience of playing on the album, breaks down aspects of the recording process and discusses why he loves the album and is proud to have played on it. He also talks about the 2024 reissued versions of the dB's first two albums, Stands for Decibels and Repercussion, and the band's upcoming tour.Keep track of all things dB's at https://thedbs.com/!You can also follow the band on Instagram at @wearethedbs.As Will mentions on the show, you can find his solo music on Bandcamp at willrigby.bandcamp.com.Al is on Bluesky at @almelchior.bsky.social. This show has accounts on Instagram and Threads at @youmealbum. Subscribe for free to You, Me and An Album: The Newsletter! https://youmealbum.substack.com/1:17 Will joins the show2:36 Will talks about the trajectory of Cheri Knight's musical career and his place in it5:12 Will explains why he wanted to talk about The Northeast Kingdom8:49 Will talks about the band Knight toured with12:14 Knight's experience with farming is a key theme of the album15:32 Will and Al discuss one of Knight's sequencing choices19:48 Will talks about Steve Earle's contributions to the album26:16 Will and Al talk about the heavier sound of “Sweetheart”27:14 Will delves into the guitar sounds on the albumGoing into detail on specific tracks:29:28 The Northeast Kingdom38:12 The Hatfield Side41:47 Dead Man's Curve43:19 Will thinks the band rehearsed just the right amount before recording the album44:18 Will is also a fan of the cover art45:47 Will talks about the reissues of the dB's first two albums49:33 Will discusses the upcoming dB's tour53:22 Will the dB's ever record new music again?Outro music is from “Ask for Jill” by the dB's.Support the Show.

"Hang In There With Me" If you're an artist, you either move West or you move East. In the case of the Pennsylvania-born Amy Rigby, she went east. Landing in New York in the late seventies, Rigby absorbed the music of the city and took assiduous notes about punk rock, indie scenesters and the rhythms of the age. I'm zipping through time here, but if you want to know about Rigby's New York years, read her fabulous memoir Girl To City, which I think is one of the best books about music ever written. She later married Will Rigby of The DB's and played in bands like The Shams and Last Roundup, but it wasn't until the mid-'90s with her solo debut Diary Of A Mod Housewife that she began to flex her songwriting muscle. Hilarious, heartfelt and in many ways conversational, Rigby's work is intimate and familiar and over the course of her winning discography which includes albums like The Sugar Tree, Little Fugitive and her brilliant new one Hang In There With Me, Rigby has proven herself to be one of the most tunefully engaging songwriters on the planet. Her songs have been covered by everyone from Ronnie Spector to John Flansburgh of They Might Be Giants, she's been praised by everyone from Mojo Magzine to Steve Earle and along with her husband Wreckless Eric, she's made a handful of flawless records. Hang In There With Me is a sterling set of more Rigby classics and frankly, she's never sounded better; nobody writes with such a perfect balance of candor and finesse. www.amyrigby.com www.stereoembersmagazine.com (http://www.stereoembersmagazine.com) www.bombshellradio.com (http://www.bombshellradio.com) www.alexgreenbooks.com (http://www.alexgreenbooks.com) Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

Steve Earle's comeback show in Nashville after the release of Train A Comin' was one for the ages, featuring guest appearances by Emmylou Harris and Bill Monroe, as well as a newly sober Steve sounding better than ever. Come for the music, stay for the JFK assassination conspiracy theories.

In this episode, host Tom Reid and his colleagues Steve Earle, Adam Mitchell, and Jeff Roy are joined by Carey Wallace, founder of Agency Focus. The episode focuses on key performance indicators (KPIs), metric tracking, the impact of compensation structure, and the efficiency of Canadian brokerages. Carey shares insights from her experience as a fractional CFO and consultant for independent insurance agents, highlighting the importance of growth, profitability, and customer retention in agency performance. The conversation covers various topics related to the insurance industry, including data entry and technology, specialization, differences between personal lines and commercial lines, revenue metrics and contingencies, growth and profitability in 2023, inflation and premiums, challenges with contingencies and carrier relationships, leading and lagging indicators, and the importance of knowing your numbers.

To celebrate Presidents' Day, we're revisiting interviews that would EASILY win the popular vote, including Ray Romano, Rosie Perez, Steve Earle, and more!Get access to bonus episodes, sponsor-free listening, and the chance to participate in a quiz with Peter Sagal when you sign up for Wait Wait... Don't Tell Me!+ at plus.npr.org/waitwait.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

This week Jake talks the new DISGRACELAND episode on Serge Gainsbourg and this week's REWIND episode on Madonna, plus some personal stories and of course your correspondence. What's your favorite Serge Gainsbourg music? Favorite Madonna era? Get in touch at 617-906-6638, disgracelandpod@gmail.com, or on socials @disgracelandpod, and come join the After Party. Learn more about your ad choices. Visit megaphone.fm/adchoices