Podcasts about sun ra arkestra

Most music fans know Kevin Hearn as the pianist and songwriter for Barenaked Ladies. Few would know that Kevin was the band leader for Lou Reed for 7 emotional years.  Or that he fought a battle with leukemia for many years, even while touring with BNL.   Gord Downie knew all those stories when he asked Kevin Hearn and Kevin Drew to help him prepare for live performances of his final music project - Secret Path! Because he had just been down his own darkened  path , Kevin Hearn was able to bring comfort and  strength to the recording of Gord's final songs.  Kevin takes us though those moments including Gord's last words to him, about his friendship with Lou Reed and then takes us on another journey - this time to Jamaica.   Kevin's new solo album is called Portland Parish. Recorded in three locations. A small jungle cottage, the legendary Trident Hotel and the long-abandoned Trident Castle.  Kevin plays originals, covers (Lou Reed and Sun Ra Arkestra) on a collection of creaking pianos weathered by time and nature. If you listen closely, you can hear chirping frogs and dogs barking in the distance. Several of the pianos were damaged and barely playable.  Kevin says, "The idea was to seek out semi-abandoned pianos in spaces said to be haunted and improvise."

CBS News has obtained a list of Justice Department cutbacks showing the Trump administration is pulling funding from local initiatives that many say are vital to public safety. Homeland Security Secretary Kristi Noem spoke with "CBS Mornings" co-host Tony Dokoupil along the U.S.-Mexico border in El Paso, Texas, where she discussed the Trump administration's immigration crackdown, sending dozens of migrants to a maximum security prison in El Salvador, the "part of our process we need to fix," and more. Jen McCabe, a key witness in Karen Read's retrial, told a Massachusetts jury on Tuesday about a frantic phone call from Read in the early hours of January 29, 2022, screaming that her boyfriend, John O'Keefe, was missing. Read is accused of hitting O'Keefe with her car and leaving him to die.Southwest Airlines is outlining its new fare bundles that passengers can expect to soon see. Southwest will introduce a new cabin that offers extra leg room. For now, the seat will be free, but early in 2026, the airline will switch to assigned seating. Plus, starting in May, most passengers will have to pay to check a bag. CBS News senior transportation correspondent Kris Van Cleave has more. As President Trump marks 100 days in office, CBS News' Caitlin Huey-Burns sits down with voters in Georgia and North Carolina to hear their thoughts on his performance so far. At 100 years old, Sun Ra Arkestra bandleader Marshall Allen is celebrated by the National Endowment for the Arts as a living legend in jazz. CBS News national correspondent Jericka Duncan sat down with him. Geena Davis, star of "Thelma & Louise," shares how her new book, "The Girl Who Was Too Big for the Page," encourages kids to stand tall and embrace who they are. Comedian and commentator Samantha Bee joins "CBS Mornings" to talk about her one-woman show, inspired by her own experience with menopause and the lack of honest conversation around it. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

THIS WEEK's BIRDS: Algerian cha'abi singer Mohsaïd Oubelaïd;  Moroccan cha';abi from Abdelkader Rachdi Balkan song from Kurbeti. Saban Bajkramoviç; Roma song from Vera Bila & Sendreiovci; Experimental Hungarian song from Kampec Dolores;l vocal jazz from Jeri Brown; David S. Ware as well as  Zoh Aba and Sun Ra Arkestra;  West African vocals from Salon Camara and Lassana Hawk Cissoko; Brazilian vocals from Marina Iris; samba from Bezzera da Silva;  flamenco from David de Arahal & David El Galli; Camarón; and Jimenez Rejano; and (as always) so much, much more. Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/m/playlist/view/20496412 and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

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Tons of music continues to orbit around Sun Ra. Here some fascinating new and archival recordings. The playlist features James Brandon Lewis; Sun Ra Arkestra; Michael Sarian, Matthew Putman, Ledin Mola, Federico Ughi; Hamid Drake & Pasquale Mirra [pictured]. Detailed playlist at https://spinitron.com/RFB/pl/20316344/Mondo-Jazz [from "Remember Brooklyn and Moki" to "Love in Outer Space/Brown Rice"]. Happy listening!

Bartees Strange. Denison Witmer. The Sun Ra Arkestra's Marshall Allen. NPR Music's Stephen Thompson welcomes Nate Chinen of Philadelphia's WRTI to discuss the best new releases out on Valentine's Day.Featured albums:• Bartees Strange, 'Horror'• Denison Witmer, 'Anything At All'• Marshall Allen, 'New Dawn'• Sullivan Fortner, 'Southern Nights'• John Patitucci, 'Spirit Fall'Check out our longer list of albums out Feb. 14 and stream our New Music Friday playlist at npr.org/music.Credits:• Host: Stephen Thompson• Guest: Nate Chinen (WRTI)• Producer: Simon Rentner• Editor: Otis Hart• Executive Producer: Suraya Mohamed• Vice President, Music & Visuals: Keith JenkinsLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Space is the place_jazz e dintorni Festeggiando il Black History Month all`insegna della musica, questa puntata è dedicata all`Africa della diaspora. Con DAvid Murray, Brandon Ross, Vanisha Gould, Savannah Harris, Makaya McCraven, Burnt Sugar, Aja Monet e la Sun Ra Arkestra Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-4-febbraio-2025 Tutti i podcast di Space is the place: https://www.radiotandem.it/space-is-the-place

As close to indie rock royalty as may exist, Ira Kaplan of Yo La Tengo–a band nearing its 40th year in existence that he founded with his partner, drummer Georgia Hubley in the mid-1980’s–has recorded 17 records under that name and influenced more bands than could be named here. Simultaneously considered critics’ darlings but also having established a wide, loyal, and sustaining fanbase, the band–anchored by bass player James McNew–will perform with the Sun Ra Arkestra at the Big Ears Festival in Knoxville in March. In this episode, he discusses how songs by Half Japanese, the Grateful Dead, and The Tremeloes guided his development.See omnystudio.com/listener for privacy information.

Dan sits down with pianist/composer/producer Corey Bernhard (currently a member of the Late Show with Stephen Colbert house band) about his journey from Boston to Philadelphia, and all the points in between. Steeped in the jazz and experimental scenes in Boston and New York, Corey landed in Philadelphia and founded Killiam Shakespeare, a beloved Philly insturmental hip-hop group. he's played with acts like Bilal, Snarky Puppy, Ed Sheeran, Ariana grande, Bootsy Collins, and so many more. Corey also gets into his upcoming LP, 'A Blessed Leap into Eternity', available January 24th (check out the pre-release singles), and how working with Michael Cummings (Trap Rabbit, Sun Ra Arkestra, Sophie Coran) was an amazing collaboration of creativity, experimentation, and patience. 

A great track by Demae (from the Mixtape with Madlib beats). J Rocc remixes Sylvan Esso. A new single from Catpack on Tru Thoughts. A brilliant live track from Sun Ra Arkestra. Hip Hop from Your Old Droog, Rome Streetz, Common & Pete Rock, Neelam and Universal Soldiers. A funky 7” from Sababa. Close Counters reworks A Tribe Called Quest break Bruk style. A new 2000BLACK track featuring Samii. A lyrically important track from aja monet. Plus plenty more music treats.

Vilniuje prieš kelerius metus koncertavęs, Antrajame pasauliniame kare dalyvavęs legendinės grupės „Sun Ra Arkestra“ vedlys, lyderis Marshallas Allenas – švenčia savo 100 metų jubiliejų. Ir toliau groja, koncertuoja, kuria, duoda interviu. O taip pat, In memoriam Europos džiazo legendai kontrabosininkui Palle Danielssonui.Ved. Domantas Razauskas

Where to start with Sun Ra's massive discography? Tom & Gav have a suggestion... This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

Space is the place_jazz e dintorni Puntata in cui celebriamo il Black History Month, con una rassegna di jazz afro-americano e black. Con Matana Roberts, Sun Ra Arkestra, Burnt Sugar Arkestra, David Murray, Isaiah Collier e Harriett Tubman. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-13-febbraio-2024 Tutti i podcast di Space is the place: https://www.radiotandem.it/space-is-the-place

I am watching the Taubman Technique videos. Actually, I am absolutely consuming this material. Friends, it's what you are searching for in giving freedom and new levels to your playing.  On those tapes, there is an interesting quote of Dorothy Taubman some of which appears in the publicly available documentary, The Choreography of the Hands. (We have it available on the Golandsky Institute YouTube channel). She says something to the effect that teachers must provide answers and direction to these sincere, talented and earnest people who are studying the piano. It seems that Taubman really wanted to provide answers to students. Like for example, how do you put your finger on the key? Why do you get really tired playing? How do you play scales? How do you move in an arpeggio? The Taubman Approach through the Golandsky Institute and its certified teachers has answers. The Taubman Approach has solutions for jazz pianists. It opens up possibilities never seen before. Today's guest, jazz pianist Adam Klipple, gives us a window into the artistic freedom that this paradigm can give. Listen to the full episode because we talk about a ton of amazing ideas. And - Adam on a fun departure from the conversation, heads to the piano and plays! Wow. “The body is capable of fulfilling all pianistic demands without a violation of its nature if the most efficient ways are used; pain, insecurity, and lack of technical control are symptoms of incoordination rather than a lack of practice, intelligence, or talent."Dorothy TaubmanAdam Klipple is a student of John BloomfieldVisit Adam Klipple's website at: https://adamklipple.com/Adam Klipple, who has been described as "a standout pianist who has gone to school on McCoy Tyner and Cecil Taylor and earned his degree," plays piano, Hammond organ, sampler, and a variety of vintage keyboards. He currently records and performs with Veronica Swift, and is a member of the legendary jazz rock band Blood, Sweat & Tears.Adam has recorded and performed onstage with the likes of Ghostface Killah, Lauryn Hill, Graham Haynes, the Sun Ra Arkestra, Craig Harris, Joe Bowie's Defunkt, Sekou Sundiata, Marc Ribot, John Medeski, Kurt Rosenwinkle, Carla Cook, Dave Fiuczynski, David Gilmore, Josh Roseman, Peter Apfelbaum, Jay Rodriguez, Groove Collective, and Smokey Robinson. He has appeared at renowned venues including the Blue Note, Iridium, the Jazz Standard, Blues Alley, and the Knitting Factory, and at jazz festivals around the world.Also a composer and arranger, Adam has earned grants from Jazz at Lincoln Center, the Kennedy Center, Arts International, Meet the Composer, and the U.S. Department of State, enabling him to tour and teach master classes in southeast Asia, the Pacific Rim, Russia, Kyrgyzstan, Uzbekistan, Central Asia, and the Caucasus.The Golandsky Institute's mission is to provide cutting-edge instruction to pianists based on the groundbreaking work of Dorothy Taubman. This knowledge can help them overcome technical and musical challenges, cure and prevent playing-related injuries, and lead them to achieve their highest level of artistic excellence.Please visit our website at: www.golandskyinstitute.org.

This week's wheat/chaff separation process sifts the following from the rock and roll cornfield … … Tony Secunda, his gangsterish suits and the publicity stunt that backfired spectacularly. … our old Word magazine pal Rob Fitzpatrick talking about the Japanese composer Michiru Aoyama who's released an album a day since December 2021, each 20 minutes 20 seconds long. And the role of streaming in the ambient music boom. … the life of Denny Laine and the great “chamber pop” hit he wrote. ... why the Move's Flowers In The Rain has never earned the band a cent.   … how the death of John Lennon was the dawn of the ‘black border' magazine tribute. … Willie Nelson's way with a middle eight. … the last men standing in the Band On The Run album shoot.   … is there anyone still on the road older than “the French Bob Dylan” Hugues Aufray (94) and Marshall Allen 0f the Sun Ra Arkestra (99)? … and mentioned in dispatches - Harold Wilson, Frank Ifield, Ginger Baker's Air Force, ‘Ronnie & Clyde' and birthday guest Rob Collis and the best rock and roll movies.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week's wheat/chaff separation process sifts the following from the rock and roll cornfield … … Tony Secunda, his gangsterish suits and the publicity stunt that backfired spectacularly. … our old Word magazine pal Rob Fitzpatrick talking about the Japanese composer Michiru Aoyama who's released an album a day since December 2021, each 20 minutes 20 seconds long. And the role of streaming in the ambient music boom. … the life of Denny Laine and the great “chamber pop” hit he wrote. ... why the Move's Flowers In The Rain has never earned the band a cent.   … how the death of John Lennon was the dawn of the ‘black border' magazine tribute. … Willie Nelson's way with a middle eight. … the last men standing in the Band On The Run album shoot.   … is there anyone still on the road older than “the French Bob Dylan” Hugues Aufray (94) and Marshall Allen 0f the Sun Ra Arkestra (99)? … and mentioned in dispatches - Harold Wilson, Frank Ifield, Ginger Baker's Air Force, ‘Ronnie & Clyde' and birthday guest Rob Collis and the best rock and roll movies.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week's wheat/chaff separation process sifts the following from the rock and roll cornfield … … Tony Secunda, his gangsterish suits and the publicity stunt that backfired spectacularly. … our old Word magazine pal Rob Fitzpatrick talking about the Japanese composer Michiru Aoyama who's released an album a day since December 2021, each 20 minutes 20 seconds long. And the role of streaming in the ambient music boom. … the life of Denny Laine and the great “chamber pop” hit he wrote. ... why the Move's Flowers In The Rain has never earned the band a cent.   … how the death of John Lennon was the dawn of the ‘black border' magazine tribute. … Willie Nelson's way with a middle eight. … the last men standing in the Band On The Run album shoot.   … is there anyone still on the road older than “the French Bob Dylan” Hugues Aufray (94) and Marshall Allen 0f the Sun Ra Arkestra (99)? … and mentioned in dispatches - Harold Wilson, Frank Ifield, Ginger Baker's Air Force, ‘Ronnie & Clyde' and birthday guest Rob Collis and the best rock and roll movies.Subscribe to Word In Your Ear on Patreon for early - and ad-free! - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Sun Ra ist eine der bizarrsten Persönlichkeiten der Jazzgeschichte. Der Vordenker des Afrofuturismus starb vor 30 Jahren. Bis heute beeinflusst der Exzentriker auch die musikalische Gegenwart. //Von Steffen Irlinger/ DLF 2023/ www.radiofeature.wdr.de Von Steffen Irlinger.

Sun Ra ist eine der bizarrsten Persönlichkeiten der Jazzgeschichte. Der Vordenker des Afrofuturismus starb vor 30 Jahren. Bis heute beeinflusst der Exzentriker auch die musikalische Gegenwart. //Von Steffen Irlinger/ DLF 2023/ www.radiofeature.wdr.de Von Steffen Irlinger.

This week on the show, we're joined by Sam Shepherd, AKA Floating Points. His discography is full of beautiful and strange electronic music—bubbling Buchalas, skittering beats, washes of synthesized sound, and even moody, spacious post-rock. But underneath it all, his love of jazz is clear. In 2021, he teamed with an actual jazz legend: the late Pharoah Sanders, as well as the London Symphony Orchestra for Promises, a single 46-minute composition broken into nine movements.  Though the artists were separated by decades in age, their approach is simpatico. Just as Shepherd has moved between genres and styles, so did Pharoah. His early work with John and Alice Coltrane established him as a dynamic, sometimes frighteningly intense sideman, and his first run of records, including 1969's Karma, featuring “The Creator Has a Master Plan,” helped set the stage for what we now call “spiritual jazz.”  But Sanders, who passed away in 2022 at the age of 81, cared very little about what genre you filed his records under. “I just play whatever I feel like playing,” he told The New Yorker. Sanders stayed restless and creative—listen to his playing on Sonny Sharrock's masterful Ask the Ages or his works with Bill Laswell, and you'll hear what we mean. In 1977, he waded into deeply personal waters with the self-titled Pharoah, which will be reissued by Luaka Bop on September 15th. Exploring new age adjacent sounds, funk, and passionate ballads, it's a radical departure from his early work, but perfectly in keeping with Sanders' unpredictable ethos.  Likewise, Promises is hardly the “back to basics” late career album you might expect an 80-year-old artist to make. It's its own thing, a meditative sojourn that relies on silence as much as sound. And next week, on September 20th, Floating Points will be joined by past Transmissions guest Shabaka Hutchings, as well as Caribou, Four Tet, the Sun Ra Arkestra, and others for the first-ever staging of Promises live at the Hollywood Bowl. Ahead of that show, Shepherd joined us from his studio to discuss his his years collecting records, making Promises—and we even got him to reveal Pharoah's favorite place to eat in LA.  Transmissions is a part of the Talkhouse Podcast Network. Visit the Talkhouse for more interviews, fascinating reads, and podcasts, like Drifter's Sympathy, with Emil Amos of Grails, Om, Holy Sons, who will be our guest next week on Transmissions. And of course No Way Out: An Oral History of Sunburned Hand of the Man, curated and produced by J Kelly Davis and presented by Aquarium Drunkard and Talkhouse. Back soon. Next week on the show, Jarvis Taveniere of Woods.

Jeff Mills, Neue Grafik, Prabhu Edouard and Knoel Scott talk about improvisational performance, rhythms as a form of communication and how technology is overtaking the artist. Jeff Mills started out on the Detroit techno scene in the 1980s before founding Underground Resistance with ‘Mad' Mike Banks in 1989. He left Detroit for New York in 1991 (via a residency at Berlin's mighty Tresor), to pursue a solo career and set up his own label, Axis. Since then, he's released a number of projects, including two volumes of Waveform Transmissions for Tresor; 2005's Blue Potential, a live album recorded with the 70-piece Montpelier Philharmonic Orchestra; and a new soundtrack for Fritz Lang's 1926 film Metropolis in 2000. In 2018, he set up the Afrofunk-electro-jazz ensemble Tomorrow Comes The Harvest with the late Nigerian drummer Tony Allen, and has been making music and performing with the collective ever since. Neue Grafik is a composer, producer and multi-instrumentalist making a truly unique sound. Blending hip-hop, jazz and house, his music draws a map between his African heritage, time in Paris and love of London's grime scene. Forming the Neue Grafik Ensemble at an after-hours jam session at London's Total Refreshment Centre, he's established himself as formidable force in the world of jazz. Indo-French percussionist and composer Prabhu Edouard is recognised as one of the most versatile tabla players of his generation. A student of the legendary Pandit Shankar Ghosh, he's collaborated with artists from around the world including Jean-Pierre Drouet and Laxmi Shankar, and is part of the afrofunk-electro-jazz ensemble Tomorrow Comes The Harvest. Knoel Scott is an American saxophonist and composer best known for his time with jazz collective Sun Ra Arkestra. With a career spanning more than 40 years, he's worked alongside jazz greats including Lou Donaldson and Leon Thomas. Most recently, he's released his first major studio album, Celestial with long time collaborator Marshall Allen.

Episodio 5.23 de Las Cosas Que Hay Que Escuchar, en el cual somos abducidos por extraterrestres junto a They Might Be Giants, Cub, Les Rita Mitsouko, Maldita Vecindad, Angels of Light, Sinead O’ Connor, Cindy Lauper, The Durutti Column, Sun Ra Arkestra, Los Toreros Muertos, Son Rompe Pera, Olga Bell y Otyken. Y, obviamente, todo el delirio habitual de Saurio y las voces que lo atormentan. Si quieren convidar con un cafecito ☕, pueden hacerlo acá: https://cafecito.app/saurio Programa emitido originalmente el 6 de agosto de 2023 por FM La Tribu, 88.7, Buenos Aires, Argentina. Repite el 9 de agosto de 2023 en Radio Asamblea FM 94.1, CABA, y el 8 y 12 de agosto de 2023 en Radio de la Calle, FM 87.9, Bahía Blanca

I'm so excited to have Strawbitty Yops in studio this weeks on Radio Active Kids! I can't wait to chat with them & have them perform some tunes! We'll play their new song ft. Carrie Ferguson, Lavender Blues, & Ants on a Log, and we also have new songs by Aaron Nigel Smith & Fyütch, Soul Push covering Imagination Movers, The BenAnna Band (ft. Strawbitty Yops, Queer Kid Stuff, Mr. Nick Davio & more), Micah and Me, Martin and Rose, fleaBITE & Levity Beet, Ashley Mills Monaghan (also ft. Music with Michal & uncle dox), Carrie Ferguson, #BisexualHarry, Yam On ft. Marshall Allen of the Sun Ra Arkestra, Paper Bagg Band, Brighter Light Brigade ft. Mista Cookie Jar, & Stuart Stotts!!! Here's the playlist!

A cura di Gigi Longo. Musiche: Norman Harris, Harold Land, Prophecy, Gerald Cleaver, Chocolate Syrup, The Grand Jury, Makaya McCraven, Andy Bey, Sun Ra Arkestra, Slickaphonics, Jimetta Rose and the Voices of Creation.

The first weekend of Coachella is here: Bad Bunny, BLACKPINK, and Frank Ocean will headline for 2023. Coachella is expected to gross well over $100 million with over 100,000+ attendees per day.In this episode, broke it all down withMIDiA Research's Tati Cirisano. Coachella started in 1999 as a niche festival for indie rock and quickly morphed into the biggest brand-name festival in the United States. These days, the Coachella brand is big enough to sell the experience itself, regardless of who's performing — a rarity in the festival business.  Tati and I discuss why that is, the implications, and what the future of Coachella could hold. Here's what we hit on:[1:20] Coachella's brand sells itself[2:19] Festival's origin story[7:09] Advantages and disadvantages of performing at Coachella[9:09] Success by the numbers[11:28] Coachella bump for brands, influencers, and local economy[16:38] Untapped opportunities for future Coachellas[22:02] How individual music show prices influence festival attendance[24:22] Artists that are above playing Coachella[27:08] The festival that's the antithesis of Coachella [31:10] Festival lineups becoming homogeneous [39:36] Predicting Coachella's 2024 headlinersListen: Apple Podcasts | Spotify | SoundCloud | Stitcher | Overcast | Amazon | Google Podcasts | Pocket Casts | RSSHost: Dan Runcie, @RuncieDan, trapital.coGuests: Tati Cirisano, @tatianacirisanoEnjoy this podcast? Rate and review the podcast here! ratethispodcast.com/trapitalTrapital is home for the business of music, media and culture. Learn more by reading Trapital's free memo.TRANSCRIPT[00:00:00] Tati Cirisano: Being a performer at Coachella has become almost like a badge of honor or like something that goes on your one sheet, you know what I mean? Like, it's something that like gives you leverage as an artist and also is just, I don't know, seen as like it has a certain level of prestige.Like I would compare headlining at Coachella to like, in the same way that a lot of artists would love to get like a rolling stone or a billboard cover, even if like, regardless of whether that's selling or regardless of what that does, just that as a concept has, is just something that's like on a bucket list for most artists.I feel like headlining Coachella, if you're someone who's trying to be a superstar, that's like a bucket list item too. So yeah, it's, interesting How entrenched this festival has become in the music industry when you really think about it.[00:00:43] Dan Runcie Intro: Hey, welcome to the Trapital Podcast. I'm your host and the founder of Trapital, Dan Runcie. This podcast is your place to gain insights from executives in music, media, entertainment, and more who are taking hip hop culture to the next level.[00:01:25] Dan Runcie Guest Intro: Today's episode is about the business behind Coachella and the unofficial start to music festival season in 2023. Coachella's history is pretty impressive when you think about it. This festival started in 1999. It was announced the week after Woodstock 99, and the shit show that that festival. With just 60 days' notice to then put on this festival that attracted just 25,000 people and ticket prices cost $50 each, and the headliner was Beck and the festival didn't make it money that year.Didn't even make enough to continue in 2000, and it wasn't until its partnership with Golden Voice in 2001 that it was able to get things back on track and slowly build up to the behemoth of a festival that we see today. It's an event that attracts well over a hundred thousand people per day for the six days of the festival itself.Two straight weekends and it attracts some of the biggest artists in the world. And this year they're especially making its footprint scene on the global scene. The headliners include Bad Bunny, Black Pink, Frank Ocean. There's also artists like Burna Boy, Calvin Harris, and many others that are making up this year's lineup.To break it all down, I'm joined by Tati Cirisano from MIDiA Research. We talk about what this festival does well, how it's shaped music culture overall, and its broader impact on music festival culture. Here's our breakdown. Hope you enjoy it.[00:02:55] Dan Runcie: All right. Today's episode is all about festivals and the granddaddy of them all, at least in the US, Coachella. We're here to break it down with Tati Cirisano from MIDiA Research.Tati, welcome back to the pod.[00:03:09] Tati Cirisano: Yeah, thanks for having me, excited to dive in. [00:03:12] Dan Runcie: Yeah. One of the reasons I wanted to talk about this with you is because I feel like Coachella reminds me of some of the conversations we've had about, a lot of these platforms that they, in many ways have become the bigger brand and the destination than the actual creators on some of these platforms. And I feel like Coachella, at least from a music festival perspective, has some of that because at least in the US this is the most popular music festival.We've seen it expand over the past two decades. And while most music festivals do rely so heavily on their headliners, Coachella is one of the ones that it's still able to, in many ways, capture the same audience and just get a consistent following and culture around it. That doesn't seem like it's stood as dependent on the headliners, but they still get big headliners.So how do you think that shapes the festival and how fans themselves interact withthat festival?[00:04:10] Tati Cirisano: Yeah. I mean, just to like prove out what you're saying, I think, I'm pretty sure Coachella tends to sell out or at least sell a lot of tickets before their headliners are even announced or before the lineup is announced at all. So you're totally right. I think it's become a big enough brand in itself that people are just kind of, ready to buy into it. And I think it's because Coachella has It's kind of created a culture. I remember kind of the celebrity era of Coachella when like, you know, Vanessa Hudgeons was like the queen of Coachella and you could go and run into Rihanna and Paris Hilton and like they kind of created that aesthetic of like the hippie style and all of these things.And so, when people buy a ticket, it's like they're buying into a lifestyle and a culture more so than the music itself. I think a lot of people go for that experience and to dress up and like buy into that, that lifestyle, maybe even more so than the music. and it does seem like Coachella over time, maybe because of that.The lineups have become a little bit more like crowd pleaser and mainstream to me. Like I was looking, just in preparation for this episode, like kind of looking at the history of Coachella and I didn't realize that when it started, part of what Paul Tollett wanted to do was create like a more niche festival where you would bring together like a lot of niche artists and hope that they all have big enough individual following that, you know, putting all that together. Would be enough for a festival. and it seems like the complete opposite today. In many ways like I think Coachella still sometimes tends to have like more left of center artists that line up this year is like super diverse and interesting. But it does seem like they've maybe become a little bit more mainstream over time.And maybe it is because the people are going not as much for the music as they're going for, like the vibe of it all.[00:06:02] Dan Runcie: Yeah, and dating back to that first festival, it's kind of crazy that this even became what it is today because it starts in 1999. They announced this festival and put tickets on sale. I think it was two months before the actual festival started, so not that much time. They announced it the same week or the week after Woodstock 99, which is just a complete shit show, which said so much about where people viewed a festival like this and their headliner was Beck. They didn't make as much money, I wanna say like 25,000 people showed. So they couldn't even have a festival in 2000. They had to wait until the next year and do the partnership with Golden Voice and make it happen.And then, yeah, fast forward to where we are today, where it is mainstream pop artists that are doing it. And what was once this niche culture of people that just really enjoyed indie rock music. It now is this mainstream thing. It almost reminds me of something like Comic-Con in that same way where it was this nerd thing with people that you know wanna do live action, role play, and Dungeons and Dragons, or dress up like Zelda.And now every mainstream celebrity is there to promote their movie.[00:07:19] Tati Cirisano: Yeah. And in the same way, you're going to dress up, you're going to like, kind of put on a costume, Coachella, it is kind of a costume for most people and like have that experience regardless of who's playing.so yeah, I totally agree. And I think the other thing, like over time Coachella has gotten to a place because of all that we're talking about, where it has such a, power on the festival market, like written into its contracts, like it has a radius clause that they get to release their lineup first.They are the first festival of the season, mid-April is like pretty early, so there's also now like I think built in ways that Coachella tends to be kind of the North Star for all of the festivals, and so it's just the one that people are going to regardless of, yeah, regardless of who's playing.[00:08:09] Dan Runcie: Yeah. I also feel like because it has a bit more of that brand and that audience command, regardless of who the artist is, I almost feel like it has a little bit of that Super Bowl effect where artists want to be able to perform on that stage because sure, they may bring some fans themselves, but they're likely gonna be reaching a new audience and having exposure to people that may not necessarily have tapped in general compared to, and I think Coachella is similar, but if you compare that to some of these other festivals that are so heavily reliant on that headliner themself. There's a case to be made that, okay, well if the headliner pulled those fans into the festival, then they have to then share those tickets essentially, you know, soft tickets with everyone else.How does that compare to actual hard tickets that they could have done themselves? So, I feel like there's a Coachella advantage there. [00:09:01] Tati Cirisano: And there's also a disadvantage in that you don't get, I mean, I know that I'm pretty sure already, like the data that you get on who's in your seats at shows is pretty minimal. But when you go to a festival, you don't really know who's going to see the festival for you and you don't really know who dis how many people discovered you or how many people came to your set. It's not the same as like if you sell out an arena, you know, the number of seats that were there, you know what I mean? So that's also an interesting thing is like you are probably getting a greater audience and this artist might be the whole reason the festival is selling tickets, but nobody's actually able to quantify that.[00:09:34] Dan Runcie: Right. And I feel like for some artists too, there's almost a bit of risk mitigation that can come with doing a festival. Risk mitigation may be the wrong word, but I think that's certain artists that have a lot of buzz or may have a lot of fanfare, it may be a lot harder for them to sell hard tickets.But if they could perform in front of this large festival crowd, they get a big advance or they get a big guarantee with the, promoter and through their agent as well, they can feel much more confident performing in front of, you know, thousands of fans or maybe even tens of thousands of fans on stage, even though they may not be able to sell, you know, sell out a house of Blues for instance.[00:10:14] Tati Cirisano: Totally. Yeah. No, and it also feels like being a performer at Coachella has become almost like a badge of honor or like something that goes on your one sheet, you know what I mean? Like, it's something that like gives you leverage as an artist and also is just, I don't know, seen as like it has a certain level of prestige.Like I would compare headlining at Coachella to like, in the same way that a lot of artists would love to get like a rolling stone or a billboard cover, even if like, regardless of whether that's selling or regardless of what that does, just that as a concept has, is just something that's like on a bucket list for most artists.I feel like Coachella headlining Coachella, if you're someone who's trying to be a superstar, that's like a bucket list item too. So yeah, it's, interesting How entrenched this festival has become in the music industry when you really think about it.[00:11:02] Dan Runcie: Yeah, let's look at some of the numbers here, cuz I think that's another fascinating piece. So we don't have hard numbers for this. A lot of it is based on past things that have been shared. But in 2017, this festival grossed to 114 million. And they had around 125,000 people coming per weekend.So if you roughly do the math thing, you look at ticket sales, I feel like that's like just under $500, like per attendee that ends up coming to the festival. And we likely saw similar, maybe even greater as well, because that doesn't take into account sponsorships that doesn't take into account these brand activations and other things as well.And I know that Coachella is a festival that has taken some shit for not paying artists well, at least the artists that are further down that list, that have much smaller font size, I think it's seen as paying the headliners. Well, at least I was talking to, someone that understands the business well, and their estimates were that the headliners this year, so you have Bad Bunny, Black Pink, and Frank Ocean.Their thought was, Frank Ocean and Black Pink got 4 million per weekend, so 8 million total and that Bad Bunny likely got 5 million per weekend. So then 10 total and then I believe that Calvin Harris's name was, towards the bottom of that list, like returned to the desert, Calvin Harris, I think he got one and per weekend. And then the artists that are on let second row, like Burna Boy and a few others, I think it was around like seven 50K per weekend but then it's a steep drop off after that, right? I mean, I remember hearing from Cardi B, this was, you know, after invasion of privacy, but still before, you know, she blew up, blew up. Or maybe it was the year before that, I forget. But she talked about how she was paid 70K, but she saw it as an investment in her career as an opportunity to pull up and get more. And obviously she's someone that you know, is now getting a million dollars. Private shows where she's doing 35 minute sets, but I feel like that like plays into that.So I don't know if all of those artists are getting paid, but yeah, I think some of them are willing to take that because of the exposure. [00:13:14] Tati Cirisano: Right. Yeah, I think you're probably right. And the number that I would love to know is like how much money that, cuz I know you, you were also talking about the boost of the local economy and that I think it was400 million, in Coachella Valley. I'm also wondering, like, even outside of that, just the whole business of it, like you mentioned the sponsorships, the influencer deals, you know, H & M having a Coachella section in their store.Like all of these things, I'm almost more fascinated by all of these kind of like satellite businesses around Coachella than the business of Coachella itself like I would love to know the total number for how much revenue this festival is just kind of generating for all these things outside of it, if that makes sense like, cuz it seems to go so far, like e every store has a festival section in March and you know that what they're really talking about is Coachella.[00:14:06] Dan Runcie: Definitely. Yeah. Like, could we look at, I'm sure they wouldn't share this, but if Forever 21 and H & M and those types of stores shared, how much more do they get from, you know, their festival and attire, whether that's, you know, the flower headdresses or whatever, you know, the crowns and the stuff that people wear or just shut general outfits as well. And then I forget the name of the brand, but there's one of those brands that I'm sure many of them do, but they pay for all the hotels that are in Palm Springs, that are in Indio in the general area, put all the influencers there, buy all the clothes for them, and then buy all their tickets and just have them work almost the same way a reporterwould work the festival. [00:14:47] Tati Cirisano: Yeah. like what is the influencer economy around Coachella specifically? Like how much money is there? I would love to know.[00:14:56] Dan Runcie: Yeah, I feel like, because if you count that, I wouldn't be surprised if you're over a billion, especiallylike just when you count the overall impact for sure. [00:15:05] Tati Cirisano: did you happen to see the price of the first Coachella ticket? When you were doing your research, [00:15:12] Dan Runcie: I saw this a while ago, but I forget now. How much was it? [00:15:16] Tati Cirisano: Guess, guess, [00:15:17] Dan Runcie: oh, guess. Okay. I'm gonna guess it's like $75.[00:15:20] Tati Cirisano: It was $50[00:15:22] Dan Runcie: Oh, wow. [00:15:23] Tati Cirisano: Was and this year's was $550 and that's before, so [00:15:28] Dan Runcie: Wow. Wow. What a come up 50 bucks to see all those artists and then only 20 other 25,000 other people there. Wow, that's something crazy. Yeah. I mean, so 10X there, everything's grown. And then even just the expansion, right? Because I think it was around like 2007 or so that they first went to multi-day, then they went to multiple weekends. Yeah[00:15:51] Tati Cirisano: I wouldn't be shocked if they added a third. I think anything more than a third weekend would be kind of overkill and maybe wouldn't be special anymore, but I actually would not be shocked if they made it a three weekend thing. [00:16:02] Dan Runcie: Yeah, [00:16:02] Tati Cirisano: One of these days. [00:16:04] Dan Runcie: I feel like it, because if you look at the opportunity, we can talk about this now, but if you look at the livestream play that's been happening, they've only been expanding that. So this was the first year that. So YouTube has been partnering to livestream this show since 2011, I believe, but this is the first year that all six stages are now gonna have a dedicated stream.And I think the pattern that we've seen now is you have a artist like Beyonce, she obviously gets the full recording of her show. She then sells that to Netflix for 20 million dollars or however much that deal is, and then she ends up monetizing that. I assume that there's likely some compensation or some participation that Coachella and more broadly golden voice get from that piece of it.But what could the stepped up livestream look like further. I mean, I've watched it in past years and it's nice, but could there ever be a Super Bowl level production that goes into at least some particular part of these artists sets? Because they're clearly putting more and more into it as it does become a big stage and you do have a little bit more flexibility of Yeah, it's not a 13 minute set, it's a hour long thing and the higher the production value, the more fans are gonna wanna see it, the more YouTube can get more ad dollars for it and the more goes to Coachella too.[00:17:26] Tati Cirisano: Yeah, no, I think there's definitely an opportunity for that and not just higher production quality of filming the show, but also when you mentioned the Super Bowl, like having like commentators and doing interviews and there's like know what I mean like there's like a halftime like conversation.I could see there being like hosts and like interviewing fans and things like that. I feel like that's probably happened at festivals before. before. I haven't watched that many festival live streams but I'm trying to remember, like Glastonbury's was really good, this past year and it was everywhere like, because they did such a good job with the live stream. There were clips on every social media app I looked at. It was all over the news. Like it really became this cultural moment.so I think, yeah, I think there's definitely an opportunity to like have a higher quality live stream that people will pay for.I also think on the other end of things, I wonder how much more. Like UGC Live streams will come into play. I was thinking about this because, bill Wordy, who's the former, billboard, like editor-in-chief, he has a newsletter, you probably know, what is it called? Full Write No Cap [00:18:28] Dan Runcie: Full Rate, No cap. [00:18:30] Tati Cirisano: Yeah, he spoke recently, or he wrote recently about how so many Taylor Swift fans are live streaming the entire. concert for the Eras tour on TikTok and on YouTube and getting tips for it. And these streams are like pretty low quality and they're often like from the nosebleeds and you can't even see Taylor, but they're getting like thousands of viewers and people are paying them to do it, and he kind of suggested, like what could the opportunity be here, whether that's artists partnering with TikTok to livestream it or what I think is more interesting maybe is like partnering with creators to do this. If they're already doing it, why not create an infrastructure around it? But then I also don't wanna advocate for like, everybody to be at the show live streaming the entire show and like have their phones in their faces and like I know artists hate that.I know fans hate that, I hate that. So it's an interesting question and I don't know exactly how it would look, but I feel like UGC live streams could come into play like on the opposite end of these, like more high production shows or live streams. [00:19:34] Dan Runcie: Yeah, I think so too because you, of course, there's always gonna be something for the high production quality camera that you see, and even that I still do believe is under monetized to a lot of extent. I mean, we don't have public numbers, but I could just assume based on what you see from sports and other rights.But the UGC thing is huge because I just feel like you could have some unique angle. You're getting the experience yourself. I'd love to know like what those tipping numbers do look like. But yeah, I think it's huge because while a tour. I think there may feel like a less scarce aspect for that, and just in the fact that, yeah, you know, Taylor is only doing this once, but she's doing roughly 50 shows, right?But there's only gonna be two of these times that, at least right now, that Frank Ocean is gonna be doing this headline set and it's, you know, when we release this podcast, it'll be right in this timeframe but like that's it. Like there's scarcity around that people wanna see that they're gonna wanna go back and watch it time and time again.So I think there's something there. I feel like we start to see some of this where, I'm sure you've seen it. Artists are starting to record one of the shows from their concert and then have that as something that you could watch on Amazon or something you can watch on HBO Max or Hulu. So we're seeing some of that, but I still feel like there's an opportunity to get more fan, like even if you get fan views in there and get them, have some type of participation from when the doc ends up getting sold or whatever that is. I feel like there's a few interesting ways to do it.[00:21:04] Tati Cirisano: I mean, I even think about like YouTube reaction videos and how like that's such a huge space of people. For all sorts of things, like listening to the new Taylor Swift album and live reacting, and people watched that and I could see a similar thing at a festival like live reaction to the Frank Ocean Set.And then afterwards you're like telling everyone what you thought. Like again, I don't wanna advocate for more phones at shows, but I feel like people are already doing this and so maybe it's a question of like how to support it and make it a better experience. I don't know.[00:21:36] Dan Runcie: Yeah, it'll be interesting to explore. I feel like the other unique thing about Coachella, we can talk a bit about pricing. You mentioned itself the price is 10X'd in 24 years since the first Coachella. But as this festival becomes more expensive as touring itself, especially to see these headliner type artists becomes more expensive.You talked a lot about, or you mentioned how does that impact the actual experience and how does that impact what fans may wanna do? Like how do they justify buying separate tickets to see just one artist versus being able to see multiple ones in a festival?What are your thoughts on that?[00:22:13] Tati Cirisano: Yeah, no, I mean, I think there's multiple factors kind of pushing toward festivals. Being a kind of solution for a lot of fans today. One is, as I've, you know, shouted from the rooftops in so many of our conversations, like listenership is really fragmenting and people tend to listen to way a wider spread of artists today, making it kind of hard to have a mainstream or a superstar, or harder to have a superstar.And they're also focusing more on songs often than artists. and then on top of that, costs for pretty much everything are skyrocketing. So yeah, if you're someone who listens to a wide range of artists and you're more likely to be, to kind of center your fandom around songs than artists themselves, and you also are not maybe able to afford going to five different shows anymore, why would you not rather go to see a festival?And not that festivals aren't expensive, cuz their enormously expensive, especially when you factor in travel and the outfits like we've talked about and all of these things. But I just given all the trends with, listenership that we're seeing, I feel like festivals will become even more popular for consumers.[00:23:23] Dan Runcie: I also think some of this may shift genre by genre, and to some extent I do look at it. A bit bittersweet to some extent because I look at festivals like, let's look at two of them rolling Loud and this Lovers and Friends Festival that I know had been canceled and I know they, had recently had one rolling loud, of course, is primarily rappers and hip hop artists, lovers and friends is more of that R and B that I think that a lot of millennials and even some,younger Gen X folks grew up with.Because those festivals exist in that same way. It's great to be able to bring those artists together. I do wonder though, has that dynamic hurt any of those artists impact to be able to generate not just real fans that may definitely wanna see them by buying hard tickets, but how does that help them grow the fan base in a way that doesn't make them just reliant on doing, rolling loud and then just getting an upfront check to do that as opposed to the long-term gains that could come from. Okay, yeah, you may not be performing for as big of an audience relative to your social following, but what could that build up to down the road? And I think even for some of these legacy artists that are doing lovers and friends fest, I remember I was talking with someone, about this recently and they were like, yeah, you know, as much as you like lovers and friends fest like t hose artists are the more indirect way, seeing them all the way they do now. [00:24:48] Tati Cirisano: Right, like the festival makes a lot of like on paper, logical sense for consumers, but does it make sense for fandom? Like is it actually helping artists nurture fan bases or is it just feeding more into what I was saying about, you know, a lot of people just kind of listening to songs and not artists So yeah, I think that makes a lot of sense and a lot of these artists that are playing. Those smaller, more niche festivals are playing a ton of them. And if it's like Megan Thee Stallion is playing at 10 different festivals, why are you going to buy a ticket to her tour? Like, I think it could kind of cannibalize some of those sales or like diminish people's interests in, going to the tour as well, or maybe they go and they're like, oh my God, Megan was incredible during her shorter set. I want to go see her on tour like, I don't know, maybe it, goes both ways, but I do think that we might see more and more of those smaller and more niche festivals for all of the reasons that I've mentioned.Like I think we've seen more and more, there's so many nostalgia festivals now there's so many, like speaking to a very specific scene, like, I forget what it's called, but there was one that was almost like, it was kind of like emo night, but as a festival, like I think we're, I think we're probably gonna see even more of that, and those are gonna be the ones that don't cost you, you know, two grand to go to Coachella. and it's maybe a little bit more accessible. so yeah, I think, I think we're probably gonna see more of those type of niche ones.[00:26:14] Dan Runcie: Do you think that there's certain artists that don't need Coachella? I know we talked about how it's beneficial for headliners, but I thought a lot about the weekend doing Coachella last year, and he was a late edition, Travis Scott was supposed to be the headliner, but after Astroworld and the tragedy there, he didn't do it the weekend does it?The weekend already had this tour planned. He did that tour in Southern California, he had still performed at SoFi Stadium later on that year. I don't know how the radius and the timeframe works out there, but I'm sure there must have been enough time there. But I wonder if, okay, beyond the $8 million, we could assume that he got from that.I mean, that's roughly what he would make from one of these stadium rougnights that he would do on his own tour. Did that benefit him in the same way? I don't know. I mean, I think I can clearly see the benefit for Black Pink or even Bad Buddy and others where, hey, this is a statement. You're here on one of the biggest stages we have in the US and you aren't from this country and you don't live here.There's a big, influence that that can have, but does it make sense for the weekend, right? I know that people have often talked about when would Taylor Swift do it, and whether that's talking about the Super Bowl or even Coachella, but even if we just talk about Coachella even if you paid Taylor 10 million dollars or 12 million dollars, is that going to be more beneficial for her when she can sell out football stadiums herself doing her own thing?So[00:27:47] Tati Cirisano: Right. It's been more important for Coachella than it is for Taylor Swift. to be at Coachella, I guess.[00:27:54] Dan Runcie: I would think so, because I mean, on one hand, yes, we know Coachella is gonna sell out regardless, but they could get more of those fans that may do participate in other, you know, economic, you know, aspects of the festival.[00:28:08] Tati Cirisano: Totally. Yeah. And they have more control over things and everything. Yeah, I think, you're right, for an artist like The Weeknd or Taylor Swift, it's probably more about like checking off that bucket list item or like having that prestige of performing at Coachella than it is like a material benefit.I think you're probably right to question that, but then you're right. for an artist like Black Pink, it means a lot more and is probably a lot more impactful in terms of like revenue and fan building and things like that.[00:28:35] Dan Runcie: Another topic you brought up about festivals right before we had started recording, you're talking about a festival you had went to recently in Knoxville, Tennessee, and it was spread out across different music venues in the city itself. And you also said you're done with festivals on festival grounds.So can you talk a little bit about that? Cuz I think that could be interesting to dig into a bit.[00:29:01] Tati Cirisano: Yeah, no, it was perfect timing to do this episode because I went to the antithesis of Coachella last weekend, which is, a festival called Big Ears in Knoxville, Tennessee it was a 10 year anniversary of this festival and in terms of the types of performers there, it was a lot of kind of like experimental and independent and folk music, instrumental artists, like Sun Ra Arkestra was one of the performers.I also, my favorite performer was a rock band from Niger called Atron Delea, like it was all these kind of like from all over artists and so that was one part of it that was cool. It was very niche and it was very much a scene, kind of like I'm talking about having these like more niche scene oriented festivals and it was held across the venues in Knoxville, of which there are like, 10 or 15, and they're all about a 10 minute walk from each other.And they also had performances in movie theaters and in cathedrals and in these sort of like non-traditional spaces and. It was just such a more enjoyable experience to me than being locked in a pen in like a parking lot and like, you know, having to pay $10 for water and like feeling very Lord of the Flies for 12 hours like, it was such a better experience and it also struck me how much it could be, you know, a big thing for the venues in that area. It's a big thing for the community and for the culture of the city, like, I don't think you could like turn Coachella into a festival, like across the venues in LA or like New York or something like, I don't think it would work for something at that scale, but it did make me think that, there could be more of, I think, and I'm sure that there are, I'm sure others exist, but that there could be more of these types of festivals that are a bit smaller, a bit more niche, and are held in a city.And you're also bringing the music to consumers rather than people having to travel to someplace like LA like just having these festivals in smaller cities. I just think there's a big opportunity there and also just to innovate the festival experience in general. Like, why do we have to be, you know, in a parking lot and, you know, all that kind of stuff.There's been better. Innovations in like, like I know the food at festivals has gotten a lot better over time. It used to be like frozen pizza was like your only option, and now there's like crazy food tents. But yeah, it just got me thinking about like how to innovate the festival experience and what the future of things looks like.[00:31:23] Dan Runcie: That's a good point because it makes me think of the film festival variety that we see where there's different vibes, but a lot of it is based in existing venues, and it does bring a bit more traffic in general activity to that area, but it's a bit of a different experience, right? Whether it's, you know, Tribeca or even here in San Francisco or in Sundance, I mean you could also get a little bit of a different vibe too, where, okay, if you wanna go skiing in Park City, then you can go to Sundance in January, right? If you want to go on the French Riviera afterward, you can go to Cannes like there's so many different vibes, but I feel like in general, when people think of music festivals, it is wearing that Coachella outfit and being somewhere in an open field with not a lot of shade and, you know, like that type of thing. So I feel like it couldn't then, yeah, it could just bring a little bit more variety to some of these things. And the fact that it already exists is good, but it could probably bring a bit more, you know, boom, to some of these other areas that may want something unique and ideally, if they're not overlapping on headliners, which is another thing that I know is an ongoing challenge with these festivals. I feel like when Outkast did their whole festival run where I forgot how many they did in 2014, that was the first year that stuck out to me where I was like, oh, some of these artists are just going boom, boom, boom.Same festival. Same festival. So you have that some artists that would do it in the same years, but then you also have some artists that will just come back and do the same festival time and time again, and it really isn't that much different.What are your thoughts on that? [00:33:02] Tati Cirisano: Yeah. I wanna say one more thing about the big years thing, really quick before that question, which is, how that kind of festival could expand the audience, like the tam of festival goers like I would say about half of the people at Big Year's were 55 plus, these are not people that are going to Coachella, you know, like, I mean, maybe they are, but I, I think there's other demographics and other age groups that would enjoy going to a festival if there was a bit of a different experience.So I feel like there's a lot of groups that were not hitting with the traditional festival market. and like this venue model could be kind of like that. but yeah, in terms of festival lineups getting a lot more homogenous, I kind of can't help but attribute it to the fragmentation trend that we've been talking about and how much harder it is to create a new mainstream superstar today. Like, y eah, I think that a lot of festivals are finding it harder and harder to find these kind of crowd pleasingheadline acts and there aren't as many new ones coming up. And it also seems like, festivals are kind of continuing to dip into these legacy acts from times when the industry was less congested and less fragmented like the Glastonbury lineup, it's Yeah, Arctic Monkeys, Elton John and Guns N' Roses. And it's like this could be the lineup a decade ago. So it does feel like not only are festival lineups becoming more homogenous, but a lot of them are tending to book legacy acts rather than newer, mainstream stars. Maybe because there aren't as many newer mainstream stars, I don't know.[00:34:43] Dan Runcie: Yeah, I think that, that headline spot is probably where some of, I don't even wanna say contention, but some of that decision making can lie in, maybe a lot of this applies to festivals that aren't like Coachella a bit because they are a bit more reliant on the headliners themselves, and because of that, they're more likely to make, what they feel is safer picks and unfortunately, a lot of these safer picks end up being more male, more white, and more legacy acts that have likely been there before. So if they're like, okay, well we knew that Arctic Monkeys were, you know, huge in 2012, then let's bring them back in so we can try to command some of that same audience that is like, well, you also have local stars and others around the world that don't fit into those same categories that could do it. But they feel like that's a risk, unfortunately, and then if they do invite those folks, it's for less money and their name is smaller and they're not presented as a headliner in the same way. So I think that's one of the downsides of it.And the fact, I think fragmentation plays into this, cuz I think, you know, regardless of who you are, it has just become even harder to have artists break out. The artists that do break out, they're more likely to maybe break out within their particular region. It's harder to have that same global appeal in that same way and I think we've seen maybe a few outlier examples of that more recently.Especially when you look at Coachella's lineup this year with Burna Boy and Black Pink and Bad Bunny all having prominent placement in their festival. I'm curious what that looks like in future years. How do you maintain that? Because even from that perspective, yeah, there's other artists that are huge, but they've already kind of gotten some of the biggest ones that we've at least had at this particular moment.But there's others. I'm curious. I forget if Dual Lipa has headlined one of the big, huge festivals in the world, I don't think she has yet, right?[00:36:41] Tati Cirisano: That's a good question. She hasn't headlined Coachella, she definitely had a big set at Glastonbury, but I don't know if she headlined. I don't know. [00:36:48] Dan Runcie: Right. Yeah. I feel like that may have been a few years ago, but I forget if that was like before or after, [00:36:53] Tati Cirisano: Oh yeah. [00:36:53] Dan Runcie: of Nostalgia tour and then after that, just thinking of other artists that have gotten huge in the past recent years, whether you have Billy Eilish or SZA, I mean, there's a few but.I'd be interested to see whether or not those names have become headliners, maybe we're seeing some of these festivals do this now, where outside Lasnier, which is, you know, right here in my backyard of San Francisco, their most recent poster. Instead of having three headliners, one per day, they have 10 artists that have big font size names, and then they have the other 60 or 70 that all have, you know, smaller, but it's all kind of the same.And, you know, you just look at the names of these artists. I'll just say right now for outside Lasnier, Kendrick Lamar, Foo Fighters, Odessa, Lana Del Ray, the 1975, Megan Thee Stallion, Zed, Janelle Monáe, Maggie Rogers, and Fisher. and I mean, I'm, I'm not shy to be mean, I'm not trying to call anyone out, but there's certain artists on that I just mentioned there that would not headline outside lands if it was presented as, oh, these are the three headliners. And they may not even be on that second row either, but. Is that in some way reflective of where things are, where it may make it easier, and of course you could probably guess based on the order of those names, Kendrick Lamar's name is at the top, you know, of this list. But still like, is this some type of reflection of this fragmentation where you have all these different genres, most of these artists, more modern, current artists, except for, you know, Foo Fighters, a bit more legacy that has continued to play on but I wonder how often we'll see that with other festivals that are maybe closer to outside lands and Coachella where, you know, still a major huge festival, but they're not getting the same headliners that Coachella is.[00:38:42] Tati Cirisano: Yeah. No, I think, you're absolutely right and I think we're gonna see that type of lineup more, at the same time as we're seeing that, there are fewer of these like Beyonce level mainstream stars, we're seeing a growth in the middle tier. We're seeing a lot more of these like, cult stars and also artists on that list who are huge but aren't really at the level of, you know, some of like Madonna or you know, these artists of the past, these icons of the past.So I think it makes more sense rather than having, you know, three headliners to have like six, not as huge artists still have a really big following. I think that makes a lot more sense, for the festival, the people going, and I think we will start to see more of that just because of the way that fragmentation is playing out.Yeah. I also wonder, when we're gonna start to see like the millennial version of legacy artists start to perform, like, was funny when I saw like the lovers and friends line up, I was like, oh my God. when you start getting an nostalgia festival marketed to you, that's when you know you're getting old.That's when you know you're no longer like the youngest And like, I wonder, when we'll start to maybe tap into like 90s and 2000s era. Sort of icons, like I would love to see like Missy Elliot headline, Coachella, like that type of thing. And I wonder if that's gonna be like the next step once we've exhausted all the times that like Foo Fighters can possibly headline a festival [00:40:09] Dan Runcie: I know, right? Like [00:40:10] Tati Cirisano: Who are also that era but, you know, what I mean, like. [00:40:13] Dan Runcie: For sure. For sure. Yeah, because I feel like we saw. Dr. Dre and Snoop Dogg were headliners maybe around 10 years ago, and then they had brought, the Tupac hologram out infamously. You remember that? So, we did have that. And of course, you know, that kind of reminds me of the Super Bowl that, from a couple years ago.But I do feel like there's a sweet spot there, given. Where Usher is right now, the popularity of his residency, I wouldn't be surprised if he jumps back on this circuit and he's doing less of the lovers and friends and he's doing more of the headlining major music festivals [00:40:49] Tati Cirisano: He would be amazing. [00:40:50] Dan Runcie: There's a huge opportunity there.Yeah. Great performer. I think he still does great stuff. I wanted to see if I can go make it to Vegas to go catch this, residency before it ends. But yeah, I I think that there is a sweet spot there for that. I mean, you think about other artists, I think Justin Timberlake has probably done some of these already, so we've seen him do them.I don't know if Britney Spears would probably perform in that same way. But we'll see. I feel like there's a number of artists that they can tap into from that era.[00:41:18] Tati Cirisano: Yeah. Yeah, exactly. [00:41:21] Dan Runcie: And yeah. I guess before we wrap things up, are there any predictions you have then for let's predict what 2024 would look like? Three headliners. Who would you think would most likely be a headliner for Coachella 2024? [00:41:37] Tati Cirisano: I would say SZA, probably, I would say Dua Lipa I think she makes a lot of sense as a headliner too, just in terms of like how, I hate like, I don't wanna say like crowd pleasing or mainstream, but like, cause I feel like that sounds like I'm giving her shade and I'm not. I think she's incredibly talented, but like she would please a, a big swath of people with her music and she's a cool performer and she has some time now, I think, since she's not touring. but, okay. So Du Lipa, SZA, This is about to be an all female headliners. This is a bit of wishful thinking, but I would love to see, cause I don't know if she's ready for this yet, but I would love to see Rosalia, headline Coachella.I think she's getting there and I actually saw her in 2019 at Coachella. She was playing the tiniest stage ever and she treated it like she was in a stadium. Like the production quality and the dancers and just like everything she put into it was incredible. And she's risen a lot over the past few years.So, yeah, that's my trio.[00:42:35] Dan Runcie: Nice. Nice. All right. We have one in common. We have SZA, so I'm gonna go SZA, Madonna, and Usher. I think that's gonna be my prediction, I feel like, Madonna has this tour coming up. Maybe she'll cap things off with a Coachella performance. But I feel like yeah, if you're gonna have this tour, I forget the name of it, you're gonna go back through all her eras.I feel like there's something unique there, so, so, yeah. I know, I know. And we'll have to revisit this. We still have a number of festival lineups to get announced this year, so we'll have to check back in and see how do these continue to develop, what continues to shape in how these festivals continue to evolve over time.So tati, this was great. Thanks for coming on.[00:43:17] Tati Cirisano: Yeah, Thanks for having me. Oh, it's a pleasure.[00:43:19] Dan Runcie: Yeah.[00:43:20] Dan Runcie Outro: If you enjoyed this podcast, go ahead and share it with a friend. Copy the link, text it to a friend, post it in your group chat. Post it in your Slack groups. Wherever you and your people talk, spread the word. That's how capital continues to grow and continues to reach the right people. And while you're at it, if you use Apple Podcast, Go ahead.Rate the podcast, give it a high rating, and leave a review. Tell people why you like the podcast. That helps more people discover the show. Thank you in advance. Talk to you next week.

Marcus Maddox is a photographer. If you were to read Marcus's origin story it brings you back to childhood memories, thinking to yourself as a kid, what would be a cool thing to play around with? What would be cool to take a picture of? It's your shadow. Marcus has shot some of your favorite musicians such as friend and guest of the show Shamir, Tierra Whack, Moor Mother, yes I just dropped 3 Philly names, Hello Mary, Barrie, Knife Play, Sun Ra Arkestra, Thundercat, BTS for friend and guest of the show Mannequin Pussy and many more. I found Marcus via shooting for friend and guest of the show Kennedy Freeman of Highnoon but saw instantly that he has also shot friends that I met in a past life, Jon Key and Jessica Willis for his series, Figures of Color. Maybe Marcus will convince me to start wearing color after I took a deep dive into his photos. Please welcome Marcus Maddox to Wear Many Hats. instagram.com/marcus.xoxo instagram.com/wearmanyhatswmh instagram.com/rashadrastam rashadrastam.com wearmanyhats.com dahsar.com

Originally recorded in December 2022, this episode brings us back to earth to dig into the 1977 Sun Ra album "Solo Piano: Volume 1." This one wraps up our last series for the year, "Sun Ra and the Great Beyond" and features a very special guest: artist, creative director, and former competitive piano player Kat Lam! to close the season out

Puntata dedicata alle big band, con la Gil Evans` Orchestra, Mingus Big Band, Exploding Star Orchestra, Sun Ra Arkestra, Supersonic Orchestra e altro ancora, tra Stati Uniti, Europa e Italia.

Space is the place_jazz e dintorni del 6 dicembre 2022Puntata dedicata alle big band, con la Gil Evans` Orchestra, Mingus Big Band, Exploding Star Orchestra, Sun Ra Arkestra, Supersonic Orchestra e altro ancora, tra Stati Uniti, Europa e Italia. Per diffondere questa puntata: https://www.radiotandem.it/space-is-the-place-del-6-dicembre-2022 Tutti i podcast di Space is the place: https://www.radiotandem.it/category/space-is-the-place

House, funk, soul, bass and beats for open-minded listeners with an old-skool state of mind. Catch the pod live every Friday afternoon on Music Box Radio 3-5 UK time, as a podcast or at www.mixcloud.com/francisco Tracklist: Sun Ra Arkestra - Somebody Else's Idea Marva Josie - He Does It Better Fold - Sustain Timmy Thomas - Why Can't We Live Together Juga Naut - To The Table DJ First Aid, Million Dan, MC D, Rodney P - Devon Cream Ruthless Rap Assasins - What Did you Say Your Name Was Kabaka Pyramid - Faded Away Johnny Osbourne -Buddy bye bye Alton Eliis - Ain't No Music N'dinga Gaba & Sahffi - Summer Breeze FKA Mash re-glitch) Mshoza - Kortes (Kasi Luv) Kamazu -Indaba Kabani Makgona Tsohle Band - Take Your Time Moodymanc ft. Diane Charlamagne - Take Me Back Beber - Chief Rocka Rhythm Invention - Chronoclasm Mantronix - King of the Beats Bobby Byrd - Hot Pants Dusky - Up In Smoke Smokin Beats - Dreams Colourblind - Nothing Better Dam Swindle - Call of the Wild Mulatu Astatke - Mulah 2

We're reaching into some unusual territories on this week's Independent Music Podcast and – for a podcast that takes eclecticism to an extreme – that's saying something. From Skramz-pop to Raï techno, Grindcore to devotional drone, there's a lot of feast for your ears, as well as music that shall feast upon your ears. Some classic favourite labels make an appearance, including Portugal's Favela Discos and Southern Lord, alongside some more recent favourites with Italy's Tuff Kong and Maple Death. We also have much more adolescent labels, including Oddball Fantasies out of Belgium and Utter from the UK. All in all, there's plenty to love. To listen to the full episode, please join our Patreon: patreon.com/independentmusicpodcast. Tracklisting Pink Siifu & Real Bad Man – Tokyo Blunts Ft. Armand Hammer & ConQuest Tony Phillips (Tuff Kong Records, Italy) The Lord † Petra Haden – Devotional (Southern Lord, USA) Cicadahead – Mkultra RP (Honeysuckle Records / Oliver Glenn Records, USA) Sun Ra Arkestra – Somebody Else's Idea (Omni Sound, USA) Ósserp – Cavalcant l'Ossa Menor (Eternal Juggernaut Records, Kremón Records, Hecatombe Records, Brutal Arratia Records, Cruzade Records, Spain) Coralie – For Morey (Utter, UK) Cheb Runner – Drarai Telecom (Oddball Fantasies, Belgium) Dead Horses – Macabro (Maple Death Records, Italy) NPLGNN – Inna Danza (Youth, UK) Dies Lexic – Praying Machine (Favela Discos, Portugal) Produced and edited by Nick McCorriston. This week's episode is sponsored by The state51 Conspiracy, a creative hub for music. Head to state51.com to find releases by JK Flesh vs Gnod, Steve Jansen, MrUnderwSood, Wire, Ghost Box, Lo Recordings, Subtext Records and many more

WILLOW's first single, "Whip My Hair," came out just shy of the singer's 10th birthday. Now 21, she's returned with her fifth full-length album, titled . The record has big arena-rock vibes to go with its spiky pop-punk songcraft, and it effectively captures WILLOW's gift for conveying deeply felt emotions and the thrum of anxiety. We've also got new albums from genre-smashing singer, rapper and multi-instrumentalist NNAMDÏ, arty rapper Open Mike Eagle, dance-music producer TSHA and the venerated space-jazz ensemble Sun Ra Arkestra. Featured Albums: 1. WILLOW — Featured Songs: "WHY?," "ur a " 2. NNAMDÏ — Please Have a Seat Featured Songs: "Armoire," "ANXIOUS EATER," "Careful" 3. Open Mike Eagle — Component System With the Auto Reverse Featured Songs: "79th and Stony Island," "I Retired Then I Changed My Mind," "Peak Lockdown Raps" 4. TSHA — Evergreen Featured Songs: "OnlyL (feat. Nimmo)," "Giving Up (feat. Mafro)," "Running," "Sister," "Anxious Mind (feat. Clementine Douglas)" 5. Sun Ra Arkestra — Living Sky Featured Songs: "Somebody Else's Idea," "Marshall's Groove," "Night of the Living Sky," "Firefly" Lightning Round: Quavo & Takeoff — Only Built for Infinity Links Fatnice — Vanglorious Say She She — Prism Collapsing Stars — Fame

Originally recorded on September 24 2022, this episode sets us on a course far past this world and the next as we kick off our last series of the year, "Sun Ra and the Great Beyond." Released in 1983, Sun Ra & His Outer Space Arkestra's "A Fireside Chat with Lucifer" starts with a warning of the times ("Nuclear war, it's a motherfucker") and ends with a 20 minute sonic journey through the mind and story of the one and only Sun Ra.

Harper Simon is a singer, songwriter, producer and journalist. His most recent effort is an album and accompanying art book entitled Meditations on Crime. . The release is a vast and collaborative multimedia project that incorporates  an eclectic collection of contributors including writers, visual artists and of course, musicians . It is indeed a full circle meditation on crime, expressed through song, images and word.  In this episode Joe and Harper discuss the genesis of the project and how his relationship to politics motivated him to choose crime as the subject. Joe and Harper talk about the  process of selecting contributors and the importance of cohesion in something this large. Harper shares his  experience recording with long time friend Hal Willner, his plans to play live and we hear a couple tuneshttps://youtube.com/user/HarperSimonMusicTour Stories is sponsored by Izotope. Tour Story listeners get one month free of Music Production Suite Pro or 10% of all software by using code FRET10 at https://www.izotope.com/Tour Stories is sponsored by Self Care Non-Alcoholic Beer by Three Magnets. Go to https://drinkselfcare.com/ to get 15% off your first order using code TOURSTORIES

Jazz Ao Centro abre com Rodrigo Brandão e a Sun Ra Arkestra; Casa Portuguesa, de Pedro Penim, abre nova temporada no Teatro Nacional Dona Maria II.

Our return guest today on Transmissions: Chris Forsyth. The Philadelphia-based guitarist and bandleader is back with a new album, Evolution Here We Come. On it his backed up by an all-star cast including Tom Malach (Garcia Peoples), Douglas McCombs (Tortoise), and Ryan Jewell (Ryley Walker), with guest appearances by Marshall Allen of the Sun Ra Arkestra, Steve Wynn and Linda Pitmon of The Dream Syndicate, and more. Produced by Dave Harrington, the album leans into electronic textures, conjuring into the existence a zone where ZZ Top goes kosmische musik or Popol Vuh dons skinny ties. Forsyth joins host Jason P. Woodbury to discuss the interplay between man and machine, power pop, improv ethics, and more. Thanks for checking out Transmissions. If you dig the show, please consider leaving a five star rating or a review—or just forwarding your favorite episodes to a friend. We're a part of the Talkhouse Podcast Network. Next week on the show: Charlene, Chante, and Eibur Stepney, who join us to discuss the work of their father, the late Charles Stepney, as featured on International Anthem's fantastic new release, Step on Step.

A mystery project bearing the DNA of the late Hal Willner and Sun Ra, a project inspired by the poetry of that same Herman Poole Blount, tributes to Carla Bley and Lars Gullin, saxophonists on the rise, and a teenage sensation. The playlist features Meditations on Crime, King Khan, Sun Ra Arkestra; Miles Okazaki; Kurt Elling; Owl Trio; Steve Cardenas, Ben Allison, Ted Nash; Jeanne Michard; Chet Doxas; Randal Despommier, Ben Monder; Maggie Jean Martin. Detailed playlist at https://spinitron.com/RFB/pl/16213009/Mondo-Jazz (from "We the People of the Myths" onward). Happy listening!

Jay kicks us off with the story behind “I Am The Moon”, a four album exploration of Layla's perspective from the old Arab story “Layla & Majnun”. Then we move onto the controversy of the past week. Ticketmaster has rolled out its dynamic pricing system just in time for Bruce Springsteen tickets to go on sale. Tickets to some shows have gone for as much as $5000 due to demand. Most of that money is going to Bruce (instead of the scalper that bought it a reasonable price and resold it to the highest bidder), which begs the question: Why does this still feel unfair? We discuss…Song: Tedeschi Trucks Band - “Hold That Line”Nick has a bit? Nick has a bit! “Show Must Go On” is about bands that are so inspired by their founder's vision that they continue playing as a group after the founder's passing. This week on our inaugural edition, we learn about Sun Ra Arkestra. Sun Ra, born in Birmingham AL in 1914, had a brilliant ear and took to the piano at a very early age. Growing up an African American musician in the deep south during the 1920s was incredibly difficult and, early in his college years, he had a vision of ascending to Saturn where Africans could live with the freedom and self-agency that they could not attain in many parts of the Western world. He was an incredibly prolific artist, performer and philosopher. His lifelong project, Sun Ra Arkestra, lives on to this day to keep his vision alive.Songs:Sun Ra Arkestra - “Somebody Else's Idea”Sun Ra - “I Am Strange / I Am An Instrument”Greg gives us the story behind a recent gig that The Resilient performed for AFSCME at the Philadelphia Convention Center. Hired to perform a handful of songs, a request came in to play some Springsteen. Greg recalled a Bruce song that Tom Morello taught the Music Corps Band back at Walter Reed Hospital called “Ghost of Tom Joad”. After playing the show, Greg had a friend send Morello a clip of their performance and heard back…which kind of means we have Tom Morello's cell number now! More importantly, The Resilient are amazing and we were excited to hear about their latest outing!Songs: The Resilient - “Ghost of Tom Joad”

Today on Transmissions, London-based jazz and beat artist Ben Marc. He's known for his work with Ethiopian jazz legend Mulatu Astatke and with Jonny Greenwood of Radiohead and Shabaka Hutchings of Sons of Kemet. His new album is called Glass Effect and it blends classical, electronic music, and deeply felt spiritual jazz. He joined us to discuss his work with the Sun Ra Arkestra, Astake, working with Jonny Greenwood and his bandmate Tom Skinner's work in Radiohead side project The Smile. You can support this podcast by checking out our Patreon page. Transmissions is written and produced by Jason P. Woodbury. Our audio is edited by Andrew Horton. Our show is executive produced by Justin Gage, Aquarium Drunkard founder. AD Transmissions is part of the Talkhouse Podcast Network. Rate, review, subscribe, and spread the word if you dig the show.

Revelado o cartaz completo do Neopop; Anunciada a digressão «Outros Mashup» que junta Rodrigo Brandão a Marshall Allen, da Sun Ra Arkestra; The Libertines celebram 20 anos do single de estreia.

Have you ever wondered who your favorite artists admire and who they want to shine a spotlight on? Wonder no longer. In episode 1 of Accolades we talk to Steve Gunn about Sun Ra, a jazz composer, piano and synthesizer player, and poet from Birmingham, Alabama, United States. He is known for his experimental music, “cosmic” philosophy, prolific output, theatrical performances, and the Sun Ra Arkestra's bandleader. His widely eclectic and avant-garde music echoed the entire history of jazz.

My guest is London-born, Philly-based producer/engineer Michael Cumming who has worked with The Sun Ra Arkestra, Orion Sun, Odean Pope, Tom Hamilton, Sophie Coran, Trap Rabbit.  In this episode, we discuss: Moving from London to Philly Falling in Love with the US Brothers Influence Leaving School Cooking Building a Studio Business with Friends Communication Rewarding the People You Inconvenience Get Up and Go Attitude Gil Norton at Costco Quality of Life Trust in the Accent Age Challenges Harvesting Spaghetti Philly Studio Building Acoustic Treatments Open Room Recording Getting Financially Comfortable Gear Issues Matt's Rant: ATMOS Update: Post ATMOS Tuning Update Links and Show Notes Michael's Site Matt's other Instagram Account WCA on Instagram Connect with Matt on Linkedin Current sponsors & promos Credits Guest: Michael Cumming Host: Matt Boudreau Engineer: Matt Boudreau Producer: Matt Boudreau Editing: Anne-Marie Pleau  WCA Theme Music: Cliff Truesdell  Announcer: Chuck Smith

Astrofever Radio is a monthly Radio Show annexed to Astrofever Records, an independent record label from Casablanca, Morocco. The sound of Astrofever Radio stems from a broad musical palette, maintaining a wide spectrum and focusing on good music regardless of genres. Curated by Casablanca-born and based Producer, DJ, and label head Mouhcine Zouitina better known as @Polyswitch. Presenting emerging and established artists from Morocco and beyond via @Worldwide-fm. Operating out of Casablanca, Morocco, Astrofever Records is an artist-led Record label aiming to hone the city's sound and serve as a forward-thinking imprint for like-minded artists. ___ *Guest Introduction: Hailing from the Canary Islands, Patrick Luca is a DJ and Label owner whose musical preferences span a wide spectrum. Over the past years, through his imprints « SAFT / PULP / BORN » Patrick has released music from artists such as DaM-Funk, DaRand Land, DJ Sotofett, Linkwood, and Kai Alcé to name a few. Behind the decks, Patrick has always served diverse and soulful musical selections blurring the lines between all things house and disco. ___ *00:00:00 – 00:59:59 / Polyswitch 1– John Frusciante - 23 Go In To End (Warner Bros) 2– Orso Leone - Virtual U (Apollo) 3– Anacy Arcanjo - Toque Tambor (Radical Fonográfico / Soundway) 4– Miles Davis - Maiysha (Columbia) 5– Sun Ra Arkestra meets Salah Ragab - Egypt Strut (Praxis / Strut) 6– Brief Encounter - Human (Sound Plus) 7– BLO - Chant To Mother Earth (EMI / Mr Bongo) 8– Nucleus - Splat (Vertigo / WABB) 9– John Dwyer - Gong Splat (Castle Face) 10– Dean Blunt - Ciao 2001 (Dean Blunt Self-released) 11– K15 - Tomorrow's Promise (Sounds Familiar) *01:00:00 – 01:59:59 / Patrick Luca 1– K15 - White Sage (Mother Tongue Records) 2– Sound Providers - Jazz At The Cove (ABB Records) 3– Alexander O'Neal - All True Man (Tabu Records) 4– The Beat Club - It's Over (Electrobeat Records) 5– Space Ghost - Deep (Vibes Mix) (Tartelet Records) 6– Sphynx - Azul (Bastard Jazz Recordings) 7– Kid Frost - La Raza (Virgin) 8– Sansibar - Aurora Eclipse (Kalahari Oyster Cult) 9– Ca$flow - Party Freak (Latin Rascal Edit) (Mercury) 10– Polyswitch - Bravado (Astrofever Records) 11– Rosie From The Block - Let Me Be (Vice City) 12– First Choice - Love Thang (Genius Of Time Rework) (Verktyg) 13– Dip In The Pool - What About This Love (Chaos In The CBD Remix) (Studio Mule) 14– Mat/Matix - Robertson's Jam (CQQL Records) 15– Onirico - Stolen Moments (UMM) 16– The Possé - In Focus (Pulp/Saft) ___ *Polyswitch on the web: Soundcloud: https://soundcloud.com/polyswitch Instagram: https://www.instagram.com/polysw_tch/ Bandcamp: https://astrofeverinternational.bandcamp.com/ Mixcloud: https://www.mixcloud.com/polyswitch/ Spotify: http://bit.ly/polyswitch Apple Music: https://music.apple.com/us/artist/polyswitch/725374038 ___ *Patrick Luca on the web: Soundcloud: @saftmusik Bandcamp: https://saft.bandcamp.com Instagram: https://www.instagram.com/saftmusik *Follow us: Bandcamp: bit.ly/3jSuJMo Spotify: spoti.fi/32cy2bp Mixcloud: bit.ly/38b9iUx Instagram: bit.ly/3et6hjE Twitter: bit.ly/34WyHPH Facebook: bit.ly/3mXidwT www.astrofever.com

As broadcast March 10, 2022 with plenty of new shine for your podcast ride.  Tonight we open with a great jazz and soul harpist out of Ukraine in Alina Bzhezhinska whose latest release with the Hip Harp Collective is out as of Friday.  Of course, we must remind everybody to try and give what you can to the horrible humanitarian crisis going on in that country and the rest of Eastern Europe, with 2 million already having fled and more each day of this senseless conflict.  After the opener, we had a bevvy of new soul and rock to explore for the full program tonight, with Dan Lloyd ready to show us what he's got on the latter to close proceedings.#feelthegravityTracklisting:Part I (00:00)Alina Bzezhinska & The Hip Harp Collective – Soul VibrationsFreedust – HeatBasil Kirchin – Silicon ChipAllen Stone feat Swatkins & Eric Krasno – More to LearnRawayana – Laberinto (Bosq remix)Channel Tres – over and over Part II (32:30)Sun Ra Arkestra & Salah Rageb – Egypt StrutBADBADNOTGOOD – Open ChannelsMonster Rally – Phthalo BlueJordan Rakei – DefectionFloating Points – Vocoder Part III (62:18)Belle and Sebastian – Unnecessary DramaRed Hot Chili Peppers – Poster ChildPixies – Human CrimeKing Gizzard and the Lizard Wizard – The Dripping Tap Part IV (103:33)Cold Years – 32 The Bruce Lee Band – Did You Find the Money Farm?Glacier Veins - EmbersGreg Puciato – Lowered ft. Reba MeyersRolling Blackouts Coastal Fever – Tidal RiverCalexico – Harness the Wind 

This week we pay tribute to Afrofuturist pioneers of Indiana Avenue, including words and music from Bill Simmons of Midnight Starr, and James Spaulding, an original member of the Sun Ra Arkestra.

Friday, November 5th, 2021 - Bandcamp has announced that they are waiving their fees to help support artists impacted by the pandemic. This means that if you buy music on Friday this week the artist actually gets all the money (minus paypal or credit card processing fees, etc). Learn more: https://daily.bandcamp.com/features/bandcamp-fridays-2021 We thought this was a good opportunity to share some of our favorite albums, since you might be wanting recommendations to fill up your bandcamp shopping cart on friday. Here are the links to the albums we talk about: Through Our Time by Danny Lubin Laden https://dannylubinladen.bandcamp.com/album/through-our-time Solo Contra by John McCowen https://intlanthem.bandcamp.com/album/solo-contra Honeydrops Live by The California Honeydrops https://cahoneydrops.bandcamp.com/album/honeydrops-live Bad Year No Mercy by Chris Alarie https://carlosanimals.bandcamp.com/album/bad-year-no-mercy The Church Is At Fault by Elephant Watchtower https://elephantwatchtower.bandcamp.com/album/the-church-is-at-fault Turbo by Cory Wong and Dirty Loops https://corywong.bandcamp.com/album/turbo Game Winner by Joey Dosik https://joeydosik.bandcamp.com/album/game-winner Another Time by Nate Wood https://natewood.bandcamp.com/album/another-time Low Electrical Worker by Kneebody https://kneebody.bandcamp.com/album/low-electrical-worker Destroyed On Every Level by Martín Escalante https://splooshrecords.bandcamp.com/album/destroyed-on-every-level The Epic by Kamasi Washington https://kamasiwashington.bandcamp.com/ https://stevecoleman.bandcamp.com/ https://ghostnoterecords.bandcamp.com/music Swirling by Sun Ra Arkestra https://sunrastrut.bandcamp.com/album/swirling BEATS by Dell Lillinger Westergaard https://plaist.bandcamp.com/album/beats Quiet Signs by Jessica Pratt https://jessicapratt.bandcamp.com/album/quiet-signs El Dorado by Marcus King https://marcusking.bandcamp.com/album/el-dorado The Marcus King Band by The Marcus King Band https://themarcuskingband.bandcamp.com/album/the-marcus-king-band Christone 'Kingfish' Ingram - Demo by Christone 'Kingfish' Ingram https://kingfishbooking.bandcamp.com/ Backing Track by Chris Buck https://chrisbuckguitar.bandcamp.com/

Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!Sun Ra was one of the most unusual musicians in the history of jazz, moving from Fletcher Henderson swing to free jazz with ease, sometimes in the same song. Portraying himself as a product of outer space, he "traveled the spaceways" with a colorful troupe of musicians, using a multitude of percussion and unusual instrumentation, from tree drum to celeste.Sun Ra, who enjoyed cloaking his origins and development in mystery, is known to have studied piano early on with Lula Randolph in Washington, DC. Sun Ra's band became a central part of the early avant-garde jazz movement in Chicago, being one of the first jazz bands to employ electronic instruments (as early as 1956), including electric piano, clavioline, celeste, and synthesizers. In 1960, he moved his band to New York, where he established a communal home for his musicians, known as the Sun Palace. In March 1966, the band began one of its most significant residencies, playing every Monday night at Slug's nightclub on New York's Lower East Side.By the 1970s, the Sun Ra Arkestra and its various permutations began touring Europe extensively. His performances had by then expanded to include singers, dancers, martial arts practitioners, film, and colorful homemade costumes, becoming a true multimedia attraction. An outsider who linked the African-American experience with ancient Egyptian mythology and outer space, Sun Ra was years ahead of all other avant-garde musicians in his experimentation with sound and instruments, a pioneer in group improvisations and the use of electric instruments in jazz. Since Sun Ra's death, the Arkestra has continued to perform under the direction of Allen.From https://www.arts.gov/honors/jazz/sun-raFor more information about Sun Ra:Previously on The Quarantine Tapes:Sonny Rollins about Sun Ra, at 15:40: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-130-sonny-rollinsAngel Bat Dawid about Sun Ra, at 10:45: https://quarantine-tapes.simplecast.com/episodes/the-quarantine-tapes-030-angel-bat-dawid“A Somewhat Comprehensive Guide of Sun Ra's Cosmic Jazz”: https://www.vulture.com/2017/10/a-guide-to-legendary-jass-musician-sun-ra.html“How Sun Ra Taught Us to Believe in the Impossible”: https://www.newyorker.com/magazine/2021/07/05/how-sun-ra-taught-us-to-believe-in-the-impossible

A renowned international trumpeter Michael Ray is a seasoned jazz-funk musician who has had stellar runs with Patti LaBelle, The Delfonics, The Stylistics, Kool and the Gang, Sun Ra Arkestra, and many other legendary bands. How Michael Ray's Discography grew to 90+ album credits with Barenaked Ladies, Stanton Moore, Charles Neville, Kool & The Gang, Sun Ra, Jimmy Cliff, and more.How Sun Ra led Michael to Kool & The GangListen to Michael reflect on recording award-winning songs.Learn about Michael's band, Cosmic Krewe!A professional musician for more than forty years, this Trenton, New Jersey native has simultaneously mined every side of the international music scene since the late 1970s playing his supersonic jazz/funk/future trumpet as the Intergalactic Research Tone Scientist with Sun Ra & His Arkestra, prancing around to the funky sounds of tho platinum-selling, stadium-filling, hella killer horn-driven Grammy Award-winning R&B/Funk best-sellers, Kool & the Gang and many other worldwide phenomenons.Cosmic KreweFunktastic Chats WebsiteMentions:Kool & The GangSun RaThe Big Ol' Nasty GetdownFunktastic (The Other Side)

For me, the Tarot has been a vehicle that externalizes and unlocks the narratives we hold about our pain. Always looking to evolve my tarot studies to help my patients, I have found a new deck called the Black Power Tarot. Created by visionary musician King Khan (with drawings from Michael Eaton, under the supervision of legendary filmmaker and tarologist Alejandro Jodorowsky) the new deck "decolonizes" the historical tarot de Marseille and awakens the archetypes of black artists, alchemists, and magicians. King Khan gives us a deep journey through his own experiences with the tarot, decolonization, his musical success, and the magic of his lessons from Jodorowsky. Video of show on YouTube: https://youtu.be/y4dp5xrARIk to purchase the deck https://www.hellomerch.com/collections/king-khan and check out King Khan on your music source, as well as the Sun Ra Arkestra. photograph used of King Khan by Matias Corral.