Podcast appearances and mentions of Woody Guthrie

Duo led by Woody Guthrie's grandson will perform Music is embedded in the DNA of the Little Stony Point Citizens Association. Pete Seeger and pals lit bonfires on the beach and jammed into the night after he discovered the Philipstown riverside spot. In 1984, The New York Times reported that 200 people attended the association's informal kick-off. Several musicians performed, and Alex Clifton and T. Xiques breakdanced to music from a boombox. Locals called the place Sandy Beach. The fledgling association aimed to create "a safer place to picnic, swim, hike or boat." In a letter Seeger sent to Cold Spring resident Bob Connor around 1983, he wrote that volunteers, beyond picking up litter, should ensure that "people are not getting drunk and getting into fights" and that they stop throwing "the trash barrels into the water." They would also "be of assistance in case anybody needs it." The association became the first of some 30 friends' groups to work with state parks. One early achievement was the pedestrian bridge over the tracks, says Brian Grahn, president of the nonprofit's board. Most recently, the group hired Cold Spring resident Bryan Jennings as a community outreach coordinator to organize live music and "authentic programming." On Thursday (June 18), Woody Guthrie's grandson, Cole Quest, will perform in Seeger's backyard. Along with singer and guitarist Christian Apuzzo, their focus will be on songs by country brother duets from the 1930s to 1950s. Billed as Christian and Cole, the duo is an offshoot of Cole Quest and the City Pickers. The performers met at a bluegrass jam in Astoria. "I had just moved into the neighborhood and heard 'Going Down the Road Feeling Bad,' " says Quest, 40. "I was amazed to hear my grandfather's song at warp speed, like folk music on drugs." As a teen, Quest (his middle name) started on electric guitar, emulating Jimi Hendrix and Stevie Ray Vaughn, but after stumbling onto the jam, he returned regularly for years, he says. "Rockstar mode was getting stale, and I had to break the mold," he says. "I bought a mandolin and started experimenting with slide guitar [influenced by the electric blues], but notes hit too sharp or too flat, so I placed it in my lap and experimented with open tunings." After hearing a dobro, or resonator guitar, at the Astoria jam, Quest instantly gravitated to the instrument because he liked its bouncy sound. It's also played horizontally in open tuning with a palm-held slide. The strings are located well above the neck, so there are no frets to get in the way. "I didn't know it, but it's exactly what I was looking for," he says. "Someone made a guitar just for me — in the 1920s." As a child, he remembers "driving up the hill to [Seeger's] house" near Beacon. He visits Philipstown often to hike and hang. Quest and Jennings share many friends in the city folk scene. Jennings used to play with The Defibulators (the "Brooklyn hillbilly spelling"), got into booking and moved to Cold Spring in 2020. From the association's inception, Maple Syrup Day in the spring always included a slate of musical performers. Ditto The Hoot, introduced in the fall. Grahn initiated the three-week Global Music Initiative at least a decade ago, he says. Jennings plans to build a weekly Thursday evening concert series and expand the organization's sonic offerings: "Music is at the heart of what we are, and it's time to reconnect with our roots," he says. Little Stony Point is located at 3011 Route 9D in Philipstown. Christian and Cole will perform on June 18 from 7 p.m. to sunset, following a 6:30 p.m. presentation by the Putnam History Museum on the Hudson Valley during the American Revolution. Admission is free. To learn more about the organization, see littlestonypoint.org. To order music, see christianandcole.com.

Author and musician Daniel Rachel has written a new, disturbing and quite overdue book, "This Ain't Rock ‘n' Roll: Pop Music, the Swastika and the Third Reich." And I interviewed him about it for my podcast.  The book documents something that has been hiding in plain sight for more than 60 years. As Rachel writes: For over seventy-five years, musicians have been drawn to the language and provocative imagery of Nazism, fascinated by its power, menace and underlying sexuality. They have flirted with the theatrical spectacle of the Third Reich, displayed the swastika, flaunted memorabilia, worn Nazi uniforms and marveled at the grandiose rallies of 1930s Germany. Decades ago, Woody Guthrie had a guitar with the words inscribed on it: "This machine kills fascists." We never thought that future rock stars might have guitars that could say they celebrate fascists. The worst part is the rock music industrial complex industry spent seven decades simply looking the other way. And so did the audiences, including me.     Learn more about your ad choices. Visit megaphone.fm/adchoices

Woody Guthrie once wrote that a song is just “a conversation fixed up to where you can talk it over and over without getting tired of it.”“When you sit down with a couple of friends,” he continued, “and you've all got your guitars parked under a shade tree or in an old kitchen, you aren't trying to show off. … You're just talking. “One guy tells a story with his strings, and the next guy nods his head and matches it with a little lick of his own. It makes the world twice as level and half as steep.”That is a concept that The Flood certainly embraces. And nothing demonstrates it better than this week's podcast, featuring the guys' latest take on the rockin' “Opus One.” This particular musical conversation — taken from the opening moments of last week's rehearsal at the Bowen house — is really saying, “Damn, man, it's good to see y'all again!”Pete's Two-Cents' WorthWoody's old friend and young protégé Pete Seeger also knew a thing or two about that kind of wordless musical chat. “It's an effortless shorthand,” he wrote in his book, Where Have All the Flowers Gone.“You look across the circle and catch an old friend's eye just as the harmony locks into place,” he wrote, “and there's this quiet, shared smile that says, Yes, this is exactly where we're supposed to be. It's the sound of community in its purest form.”Pete said it even better in one of his “Johnny Appleseed Jr.” columns in the good old Sing Out! magazine: “You realize that the song is just a vehicle for the affection in the room. It's a way of saying ‘I'm glad you're here' without having to make a formal speech about it. It fills you up and stays with you long after the instruments are put back in their cases.”Jive TalkSuch wordless wordiness is even better defined in the jazz world, where improvisation is the mother tongue. Musicians might have played a tune a thousand times before, “a melody so old it felt like part of the weather,” Geoff Dyer wrote in 1991 in his seminal But Beautiful: A Book About Jazz in a passage about listening to old friends play.“But they didn't just play it,” he recalled. “They pulled it apart like an old clock to see how it worked from the inside. … It was a language made entirely of nods, shifts in weight, a sudden drop in volume … that told everyone, let's go down this alleyway for a second.“Listening to them,” Dyer remembered, “was like watching people walk through a dark house they'd lived in for 40 years — they knew exactly where the furniture was, so they could dance through the rooms without ever bumping into a thing, even with the lights completely out.”Brain BusinessFamed neurologist Oliver Sacks was fascinated with how music affects the mind. In an essay called “The Common Pursuit,” reflecting on lifelong bonds forged by musicians, he reached a lovely conclusion.“They do not play to impress,” Sacks wrote. “They play to inhabit a space they built together 50 years ago. To sit in a room and witness this is to realize that music is not merely an acoustic phenomenon, but a profound architecture of memory and shared love.”Meanwhile, About This Week's Tune …As reported earlier, “Opus One,” written by Sy Oliver, became a huge late World War II-era hit for Tommy Dorsey's orchestra. Dorsey recorded it as an instrumental on Nov. 14, 1944.The following summer, the signature vocal version was released by Anita O'Day in an all-star session. Drummer Gene Krupa led the big band and trumpeter Roy Eldridge accented O'Day's vocals.For more on the song's history, click here to read the earlier Flood Watch backgrounder.More from This Groove?If today's musical conversation has you wanting more from The Flood's jazzier selections, drop by the free Radio Floodango music streaming service and click into the “Swingin'” channel. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

This week, world renown bluegrass and old-time music virtuosos and educators Tony Trischka & Bruce Molsky recorded live at the Ozark Folk Center State Park's annual Arkansas Old-time Fiddle & Banjo Championships. Also, performances from the 2025 contest champions, fiddler Gwyneth Davis of Petit Jean Mountain, AR and banjoist Erik Brashers of Eureka Springs, AR. Each year, the Ozark Folk Center State Park hosts the Arkansas Old-time Fiddle & Banjo Championships. Competitors ranging in age from eight to eighty come from all over to test their skills and possibly be crowned a champion. World class musicians are brought in judge these contests and also perform on the Folk Center's evening concert. At the 2025 contest we were honored to have as our judges and performers, Tony Trischka & Bruce Molsky. Tony Trischka was born in Syracuse, NY and raised in a home filled with music. There were broadway scores and a sweeping range of classical music, from Stravinsky to Beethoven. The wide-open American vistas of Aaron Copland had an especially potent spiritual and visceral impact on him, as did the folk music his left-leaning father held dear. The Almanac Singers, the solo work of its founding members Woody Guthrie and Pete Seeger, and Lead Belly's children's lp were in constant rotation. Trischka fell in love with the banjo by way of the Kingston Trio's 1959 recording of “M.T.A.,” and was able to experience the New York-centered folk revival by trekking to the Newport Folk Festival in the early to mid-'60s. He moved to the city in the early '70s and hit the ground running, settling in among a peer group of extraordinary musicians who saw American roots music as a thriving, living language that could be expanded and combined with other influences and sensibilities. - https://www.tonytrischka.com/bio Grammy-nominated, described as “an absolute master” (No Depression), Bruce Molsky transports audiences to another time and place, with his authentic and personal interpretations of rarities from the Southern Appalachian songbook and other musical traditions from around the globe. Best known for his work on the fiddle, Bruce's banjo, guitar and his distinctive, powerful vocals also resonate with listeners. His combination of technical virtuosity and relaxed conversational wit makes a concert hall feel like an intimate front porch gathering.  Bruce's take on tradition has landed him in collaborations with some of the world's most highly respected players from roots to rock. https://brucemolsky.com/bio In this week's “From the Vault” segment, OHR producer Jeff Glover offers a 1985 archival recording of a notable contest fiddler from the past, Alison Krauss, performing the traditional tune “Gardenia Waltz,” from the Ozark Folk Center State Park archives. In his segment “Back in the Hills,” writer, professor and historian Dr. Brooks Blevins discusses the etymology of the name Ozark.

Learn about David Amram's long connection with the capital region, his experience in so many different genres and how he brought a unique cultural spin to the Woody Guthrie song, "Pastures of Plenty." He will be playing at the May 9th Kingston Earth Fair. Part 1 of a 3-part interview. Produced by Marsha Lazarus

The Byrds- Sweetheart of The Rodeo (Columbia) Released August 30, 1968 Sweetheart of the Rodeo is one of The Byrds' boldest and most unexpected artistic turns. After helping define folk-rock and experimenting with psychedelia, the band suddenly moved deep into country, gospel, bluegrass, honky-tonk, and cowboy music. Gram Parsons' arrival was crucial, pushing Roger McGuinn and Chris Hillman toward a sound rooted in American tradition rather than 1968 studio experimentation. The album did not become a major commercial hit, but its influence became enormous. Songs by Bob Dylan, Woody Guthrie, the Louvin Brothers, Merle Haggard, Cindy Walker, and Parsons gave the record authenticity and depth. Nashville session players, especially the pedal steel guitarists, gave the music its pure country identity. Tracks like “You Ain't Goin' Nowhere,” “Hickory Wind,” and “You Don't Miss Your Water” show the band performing with sincerity rather than novelty. It remains timeless and helped shape country-rock and Americana. (S5-EP20)

Klezmatics lead vocalist Lorin Sklamberg joins Andy to talk about the band's newly-released album, We Were Made For These Times, the timelessness of Woody Guthrie, and keeping a band together for forty years. Intro music is "String Anticipation" by Cory Gray.

Send us Fan MailJames Weigel is a journeyman musician.  He devotes much of his time working at the local music shop, Flatts and Sharpe, teaching students on a variety of instruments.  He then also spends a great deal of time performing for various venues throughout Chicago.  These venues range from the local watering hole to more listening friendly rooms.  Those lucky enough to be able to listen to Weigel's songs will be struck by the thorough work he puts into each word he chooses for a lyrical phrase.  Not trying to be clever, but done with a sincere outlook on his path in life and his own observations of the world he lives in.  Inspired by other great songwriters, like Willie Nelson and Woody Guthrie, Weigel's songs have that beautiful weight of words in every line.  Those words are straightforward and simple, but in total create a song that can pack an emotional and thought-provoking punch.  Like many independent singer-songwriters, Weigel has almost an aversion to the notion of pursuing fame and notoriety.  He instead seeks out playing for those willing to listen to his words and songcraft.  In this interview, Weigel touches on how he goes about creating songs and how his melodies can be first or last depending on the situation.  Great insight and advice from someone who is naturally a performer and, lucky enough for students in Chicago, naturally a teacher. His websites are: https://www.ensembleschools.com/flatts-and-sharpe/staff/james-weigel/https://www.facebook.com/JamesWeigelUnderTheFloorboardsMusic/Support the showWe are always grateful to have you listening to STRUNG OUT.    Here are some important links:SUPPORT THE SHOW:https://www.buymeacoffee.com/MartyfineaKMARTIN'S WEBSITE:http://www.MARTINMcCORMACK.COM  (note---you can get my weekly bulletin when you sign up on the list!)MARTIN'S MUSIC: Music | Martin Laurence McCormack (bandcamp.com)Martin McCormack | SpotifyMARTIN'S YOUTUBE CHANNELMartin McCormack - YouTubeFACEBOOKFacebook...

Songs of Struggle, the 1930s, Including the latest version of  Woody's popular 'All you fascists bound to lose'

Lance and Matt sit down with the legendary Billy Bragg to discuss Mermaid Avenue, gearing up for Solid Sound, and the ongoing pursuit of being a disciple of Woody Guthrie. 

We hate it when things get misinterpreted, and we really hate it when it happens for nefarious reasons. We suppose that you could just as easily rename this episode Top Ten Politically Misrepresented Songs, but either way, art is being used as a weapon here, and we feel it's our duty to call it out. The mighty Gabe Scalone makes his triumphant return in Top Ten Politically MIsinterpreted Songs, with picks 10-6 in our countdown of great songs that deserve better.We've lowered our prices, but not our standards over at the ATTT Patreon! Those who are kindly contributing $2 a month are receiving an exclusive monthly Emergency Pod episode featuring our favorite guests and utilizing our patent-pending improv format in which we miraculously pull a playlist out of thin air. Emergency Pod 27 was taped on location in Florida with the great Ira Eisen. We were proud to drop it May 1st!Find out more at https://www.patreon.com/c/alltimetoptenWe're having a blast chatting about music over on the ATTT Facebook Group. Join us and start a conversation about music!https://www.facebook.com/groups/940749894391295

A trial against the cofounders of EPIC Charter School is moving forward.Oklahoma's largest electric company comes to an agreement with Google over data centers.A Texas singer/songwriter talks about being influenced by Oklahoma's own Woody Guthrie.You can find the KOSU Daily wherever you get your podcasts, you can also subscribe, rate us and leave a comment.You can keep up to date on all the latest news throughout the day at KOSU.org and make sure to follow us on Facebook, Tik Tok and Instagram at KOSU Radio.This is The KOSU Daily, Oklahoma news, every weekday.

Am 11.4.1961 steht erstmals auf einem Konzertplakat in New York dieser Name: Bob Dylan. Der Rest ist Musik-, Kunst- und Literaturgeschichte. Von Veronika; Biermann Bock.

John Henry is an American folk hero. His mythology goes back to the 1800s and no one is quite sure what part of his story is real, or legend. Nevertheless his story lives on mainly in song form. And his story could not be more relevant today with the advent of LLMs and AI threatening to take people's jobs and change society forever. This week we take a look at some great renditions of his tale from; Johnny Cash, Lead Belly, Rhiannon Giddens/Justin Robinson, Woody Guthrie, Charley Crockett and Drive-By Truckers. I hope you dig it! 

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Ralph McTell is one of Britain's most enduring and respected singer-songwriters, a master storyteller whose songs have become woven into the fabric of English folk music. Born in Kent and raised in Croydon, McTell developed an early love for American blues, folk and traditional British music. As a teenager he was captivated by artists such as Woody Guthrie and Ramblin' Jack Elliott, influences that shaped both his fingerstyle guitar technique and his gift for narrative songwriting.After studying at art school in the early '60s, Ralph began busking and performing in London's thriving folk clubs, quickly building a reputation for his intricate guitar work and warm, conversational stage presence. He signed with a record company in the late '60s, releasing his self-titled debut album in '68. His breakthrough came in '69 with “Streets of London,” a song inspired by his travels in Paris and London, where he encountered loneliness and poverty firsthand. The song's gentle melody and compassionate lyrics struck a deep chord. Though it became a hit in the early '70s and was later re-released to even greater success, its impact went far beyond chart positions. It became one of the most covered songs in British music history, recorded by hundreds of artists worldwide and earning McTell the prestigious Ivor Novello Award for songwriting. Throughout the '70s, Ralph toured extensively releasing many albums. While “Streets of London” often overshadowed his broader catalogue, McTell consistently proved himself far more than a one-song artist. In the '80s, Ralph broadened his scope. He composed music for children's tv and wrote songs for stage productions. His collaborations included projects with fellow folk legend Wizz Jones and work alongside various orchestras.A defining characteristic of Ralph McTell's career has been his longevity and consistency. Rather than chasing trends, he has remained devoted to craftsmanship. In the 2000s and beyond, McTell continued to record and tour, releasing albums that revisited his influences and explored new material. He has also been honoured for his contributions to music, including receiving an OBE in 2010 for services to folk music.Today, Ralph McTell stands as a cornerstone of British folk songwriting. His legacy rests not only on a single iconic anthem, but on decades of carefully crafted songs that chronicle ordinary lives with empathy and grace. With his distinctive fingerpicking style, warm tenor voice and unflinching eye for human stories, McTell has carved out a body of work that continues to resonate across generations.More than half a century after he first stepped onto the folk club stage, Ralph McTell remains what he has always been: a storyteller with a guitar, shining a quiet light on the corners of life others might overlook.

Spanish indie folk artist Guitarricadelafuente has come a long way since his days of posting covers on social media. Back then, he wasn't only inspired by his own culture, but American folk music as well, reinterpreting songs of Woody Guthrie and Bob Dylan. Eventually finding his own vein within the art of storytelling, Guitarrica began drawing inspiration from folklore, viewing it as not a snapshot from the past, but “something that already lives within us”. In his two albums, La Cantera and Spanish Leather, this is the concept he embraces, embodying the curiosity and joy of a kid that lives in a village, discovering the city for the first time.  There is a delicate melancholy in the music of Guitarricadelafuente, but a celebration of love and laughter, too. His lens is an unfiltered one, embracing the reality of unadulterated human emotions and making peace with the poses he strikes daily. Fresh off the NPR Tiny Desk stage, he takes a short break from his first world tour to play a stripped-down set at the Soundcheck studios. (- Sırma Munyar) Setlist: 1.Poses 2. Mataleón 3. Quién teme a la máquina?

Celebrate the life and work of Will Geer by exploring his friendship and artistic partnership with Woody Guthrie. Together they toured the country, performing in union halls and at labor benefits. Geer used his theatrical skills to amplify Guthrie's music and political message.

Born in Frankfort, Indiana, on March 9, 1902, Will Geer told the Indianapolis News in 1977 that his first public performance took place on the streets of Indianapolis, where he recited a poem outside the Lockerbie Square home of James Whitcomb Riley. Geer later became widely known for his portrayal of Grandpa Zeb on the 1970s television series The Waltons. But his life extended far beyond television. He helped stage one of the most politically explosive musicals in American history, supported labor organizing during the Great Depression, and used his art as a platform for activism. Geer was also a close friend and collaborator of the legendary folk singer Woody Guthrie. Together they toured the country, performing in union halls and at labor benefits. Geer used his theatrical skills to amplify Guthrie's music and political message. Their collaboration left a lasting imprint. Even after Guthrie's death, Geer continued to preserve and interpret his songs. This week on Cultural Manifesto, we'll celebrate the life and work of Will Geer by exploring his friendship and artistic partnership with Woody Guthrie. Together they toured the country, performing in union halls and at labor benefits. Geer used his theatrical skills to amplify Guthrie's music and political message.

Stripmall Ballads is the haunted, dust-blown project of Phillips Saylor Wisor, a songwriter wandering the backroads between myth and memory. Drawing comparisons to Neil Young, Bonnie “Prince” Billy, and Maybelle Carter, his work lives in the tension between Appalachian tradition and modern disillusion-ment—aching with spectral beauty, dry wit, and a bone-deep sense of longing. From early lo-fi master-works like Since Jimmy Died to the sparse, cinematic ache of Distant, his songs are slow-burning dispatch-es from the heart of a fractured America—where ghosts speak in minor chords and resistance sounds like a hymn. Stripmall Ballads doesn't just sing about forgotten places—it sings from them.Phillips Saylor Wisor – aka STRIPMALL BALLADS – is a Maryland-based rollicking musical rambler, rife with story-songs rich in emotion and hardihood. His brand of folk music sings the heartbreaking ballads of old brick buildings, vacant lots, and rustbelt towns. Of third shift papas, flood plains, and long drives through nowhere towns. He's boots on the ground, guitar across the body, ever observing the ugly mundane mixed with the beautiful chaos of this place we trample upon on the daily.He's shared stages with Tommy Prine, John R. Miller, Danny Barnes, Les Claypool, The Be Good Tanyas, Willy Tea Taylor, just to name a few. In his early days, Wisor found comfort in DC's encampments searching for validation in the gritty corners of tucked away spaces. Where street people applauded and encouraged as he picked away, a rustling sound of Americana and folk, with boozed-up night chatter for background noise.As founding member of The Shiftless Rounders, Phillips dove deep into the Appalachian ocean of old time banjo and balladry. And as a fervent practitioner of Shape Note music, he has spent countless hours singing in the “old way” and devouring the harmonic notions of American roots music. With a nod to Woody Guthrie, Phillips deploys all these influences in his music. Stripmall Ballads is a testament to the enduring power of painting experience with emotion, forever a voice of the strange amongst strangers.

What does it look like to spend 25 years covering a story you wish you could stop covering — and still refuse to despair? Gustavo Arellano is an LA Times columnist, Pulitzer Prize finalist, and the son of two Mexican immigrants. In this conversation he covers the Trump deportation machine, Rancho Libertarianism, why Americans hate Mexicans but love Mexican food, and what it actually looks like to stay in relationship across political difference. Calls to Action ✅ If this conversation resonates, consider sharing it with someone who believes connection across difference still matters. ✅ Subscribe to Corey's Substack: coreysnathan.substack.com ✅ Leave a review on Apple Podcasts, Spotify, or wherever you listen: ratethispodcast.com/goodfaithpolitics ✅ Subscribe to Talkin' Politics & Religion Without Killin' Each Other on your favorite podcast platform. ✅ Watch the full conversation and subscribe on YouTube: youtube.com/@politicsandreligion   Key Takeaways The Deportation Leviathan: This isn't about policy logic or net fiscal impact. It's demonization as strategy, funded for decades, borrowed from California's Prop 187 playbook. Agents of Their Own Lives: Undocumented people are not a pitiful mass. They are individuals who make this country better. Framing them as victims does them a disservice. Rancho Libertarianism: The political identity Gustavo coined for Mexican hill-country values: bootstrap mentality, community pride, distrust of government, refusal to be used by either party. It explains a lot about 2024. Latinos Are Not a Monolith: Every community on his 3,000-mile pre-election road trip had its own story. None of it reducible to a single bloc. You Eat Their Food, You Start to See Them: Mexican food as cultural bridge. The problem with Chipotle is that it's a burrito gentrifier, displacing local traditions it doesn't care about. Stay in the Friendships: A Trump-supporting friend promised to take up guns for Gustavo if ICE came for him. Gustavo told him to start carrying his passport, “because you're darker than me.” The friend responded with a thumbs up. That, Gustavo says, was a victory. These Are Also the Best of Times: During Operation Wetback in the 1950s, the only people fighting back were communists. Today the resistance is broader than anything this country has seen on this issue. About Our Guest Gustavo Arellano is a columnist for the Los Angeles Times and the author of Taco USA: How Mexican Food Conquered America. He was a finalist for the 2025 Pulitzer Prize in commentary and part of the team that won the 2023 Pulitzer Prize in breaking news. The son of two Mexican immigrants, he has covered immigration, Latino politics, and the American Southwest for 25 years. Links and Resources Gustavo Arellano Newsletter (free, weekly): gustavoarellano.org LA Times: latimes.com/people/gustavo-arellano   “Deportee (Plane Wreck at Los Gatos)” (referenced at 00:26:00) Woody Guthrie's song about the 1948 crash that killed 28 Mexican farmworkers. ICE's January 2025 post calling the victims “illegal Mexican aliens” is what sent Gustavo to write about it. Bowling Alone by Robert Putnam (referenced at 00:57:00) On declining social capital. Gustavo's prescription: join things, meet people, touch grass. Born in East LA (1987, referenced at 00:15:00) Cheech Marin's satirical classic. Gustavo's conversation about it with David Chang is what put it on Corey's radar. Connect on Social Media Corey is @coreysnathan on all the socials… Substack LinkedIn Facebook Instagram Twitter Threads Bluesky TikTok Thanks to our Sponsors and Partners Thanks to Pew Research Center for making today's conversation possible. Links and additional resources: Pew Research Center: pewresearch.org The Village Square: villagesquare.us Meza Wealth Management: mezawealth.com Proud members of The Democracy Group Clarity, charity, and conviction can live in the same room.

This week we concentrate on the key subject of immigration - from a Christian perspective.   We use seven basic propositions about immigration; what kind of immigration do we need; the dangers of Islamic immigration; the role of the Church;  Ayaan Hirsi Ali; Jim Ratcliffe and Colonisation;  Birmingham the benefits capital of Britain; Immigration in Sweden; Glasgow the Asylum capital of Europe; The Coalitions new immigration policy in Australia;  Spains new policy on immigration;  Japan's new policy on immigration; the rise of anti-semitism in Scotland;  The changing face of London;  Muslim call to prayer in Liverpool; Ahmed Mohammed attacks Christian at Speakers Corner; Labour MP Nazir Ahmed; Mosques as polling centres; Christopher Hitchens on the dangers of Islam; Steve Chalke and Islam; the Final Word- Hebrews 13. With music from Tom Petty, Woody Guthrie;  Boney M; the Proclaimers; Ralph McTell and the Gettys 

250 - Luke Winslow-King In episode 250 of Have Guitar Will Travel”, presented by Vintage Guitar Magazine, host James Patrick Regan speaks with singer/songwriter Luke Winslow-King. Luke joins us from his home in Spain. In their conversation Luke shares with us what life is like in Spain and he tells us about his experiences busking in Europe and dealing with Gypsies and his experiences with his band in Europe. Luke talks about living in New Orleans previously and going to the university of New Orleans and busking there as well with a group of musicians known as the “Loose Marbles” that eventually became Tuna Skinny, Hooray for the Riff Raff as well as members of Luke's band. Luke describes his gear including a resonator that he's had since 2001 and the rest of his gear and a shoutout to his home music store Elderly Instruments. Luke discusses his early touring experiences with a group of friends following a book by Pete Seeger of Woody Guthrie songs called “California to the New York Islands” Luke describes his current tour schedule traveling throughout Europe and the US and talks about his band, both in Europe and the US and he gives us insight into booking in Europe. Luke tells us about his new record “Coast of Light” his ninth album and he describes his musical education. Luke discusses his future, recording an album with “Little Freddie King” and another album for himself. To find out more about Luke you can go to his website: lukewinslowking.com Please subscribe, like, comment, share and review this podcast! #VintageGuitarMagazine #LukeWinslowKing #LittleFreddieKing #CoastofLight #BuskinginEurope #NewOrleans #TubaSkinny #hoorayfortheriffraff #ElderlyInstruments #resonatorguitars #GibsonGuitar #JamesPatrickRegan #theDeadlies #haveguitarwilltravelpodcast #HGWT #tourlife https://www.patreon.com/cw/HaveGuitarWillTravelPodcast Please like, comment, and share this podcast! Download Link

Lundi, Pop-Rock Station explore l'actualité indie rock, pop et metal, sans oublier les classiques. À l'affiche : Dire Straits, Idles, Triggerfinger ou les Black Keys. Parmi les nouveautés, Anna Calvi dévoile "God's Lonely Man" entourée de Matt Berninger, Perfume Genius et Iggy Pop. Le 23 février 2026 marque aussi les 86 ans de "This Land Is Your Land" de Woody Guthrie, proposé dans sa version originale. L'album de la semaine est "No Lube So Rude" de Peaches, figure électroclash toujours provocatrice, illustré par le titre éponyme. Ghinzu présente "Out Of Control" avant la sortie de "W.O.W.A." La cover du soir revisite "Walk On By", un standard signé Burt Bacharach et Hal David pour Dionne Warwick, transformé en 1978 par The Stranglers. La séquence Fresh Fresh Fresh met en avant Penny Arcade et "Rear View Mirror", extrait de "Double Exposure". La fin d'émission convoque Puscifer, Primal Scream, Interpol, Hole, MGMT et Archive. Anna Calvi - God's Lonely Man (Feat. Iggy Pop) The Black Keys - Gold On The Ceiling Woody Guthrie - This Is Your Land Extreme - More Than Words Dire Straits - Romeo And Juliet Starr Edwin - War Idles - Gift Horse Peaches - No Lube So Rude Mano Negra - King Of Bongo Triggerfinger - All This Dancing Around Again The Surfaris - Wipe Out Ghinzu - Out Of Control The Stranglers - Walk On By Weezer - Hash Pipe Hole - Celebrity Skin The Bros Landreth - Half Moon Eyes Steve Miller Band - Abracadabra 12'' Mix Interpol - Lights Puscifer - Bad Wolf Janis Joplin - Move Over The Afghan Whigs - I'm Her Slave Penny Arcade - Rear View Mirror Stevie Ray Vaughan - Taxman Primal Scream - Kill All Hippies MGMT - Kids Archive - Look At Us Gary Clark Jr - When My Train Pulls InHébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This Friday 20th February, we welcome back Dylan on to the podcast. A supremely talented singer-songwriter from Arkansas. Fresh from the release of his album 'Level-Headed Even Smile' via @gar_hole_records, Dylan is riding a creative wave. His unique voice and thought-provoking lyrics, which hold those in power accountable, are reminiscent of Woody Guthrie's legacy. Recorded in Sheffield, England, this episode explores the driving forces behind Dylan's music, life, and travels. Be sure to download the podcast this Friday from your favourite platform. PLAY. LISTEN. ENJOY.

Join us as we speak to long-time folk musician and songwriter, Tom Paxton. In this conversation Tom speaks about his early musical influences and the role Pete played in impacting his musical philosophy, as well as Tom's relationship with political music and what the purpose of folk music is. We also speak about the 1968 Woody Guthrie tribute concert, Phil Ochs, Broadside Magazine, and what Seeger's legacy is in contemporary times.

The iconic folk duo met at an audition for the only country music band at a prestigious jazz school in Boston. They immediately clicked, and joined the rich lineage of Americana artists that stretches back centuries.In their 20s, Gillian Welch and David Rawlings discovered they had something special when they sang together, a sort of eerie emotional resonance that is usually confined to the blood harmonies produced when siblings sing together.Ever since they've been making music together which draws on the bluegrass, country and folk traditions they love.In their historic recording studio in Nashville, Tennessee (which has withstood three tornadoes in the last century), they craft haunting songs about the ugly and beautiful parts of humanity.For Gill and Dave, the DNA of folk music is something we can all contribute to, and which contributes to all of us.Gillian Welch and David Rawlings are currently touring Australia's eastern states. You can find information about where and when they are playing on their website.Their seventh studio album is called Woodland, named after their indestructible studio.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.This episode of Conversations was produced by Meggie Morris. Executive Producer is Nicola Harrison.It explores music, recording, career musicians, Woody Guthrie, The Carter Family, Lead Belly, revival folk, Bob Dylan, Joan Baez, Simon & Garfunkel, Joni Mitchell, Emmy Lou, Dolly Parton, Southern America, United States, Pete Seeger, Love, relationship, natural disaster, Neil Young, Gordon Lightfoot, Leonard Cohen, Odetta, Harry Belafonte, Rhiannon Giddens, banjo, guitar, mandolin, true crime, murder ballad, Revival, Time (The Revelator), Soul Journey, The Harrow & The Harvest, All the Good Times (Are Past & Gone), Grammy Awards, Grammys, songwriting, Coen Brothers, O Brother, Where Art Thou?To binge even more great episodes of the Conversations podcast with Richard Fidler and Sarah Kanowski go the ABC listen app (Australia) or wherever you get your podcasts. There you'll find hundreds of the best thought-provoking interviews with authors, writers, artists, politicians, psychologists, musicians, and celebrities.

In this NBTB Springsteen Archive Series Review, co-hosts Hal Schwartz and Flynn McLean discuss the February 2026 release from the series, which was recorded on February 12, 1997 at the Capitol Theater in Sydney. The final night of a 5 show stand, this marked Bruce's first appearance in the city since the Born In The USA Tour. The show features several unreleased songs and is notable for also being the only show on the tour with both Bruce's The Ghost of Tom Joad and Woody Guthrie's Tom Joad. At the start of the episode, Hal and Flynn discuss the announcement by the Bruce Springsteen Center For American Music about this year's American Music Honors event and they also touch on the upcoming Springsteen Record Store Release at the end. For more information on exclusive NBTB content via Patreon, please visit: Patreon.com/NBTBPodcast. This show is sponsored by DistroKid. Use this link to support the show and get 30% off your first year: http://distrokid.com/vip/nbtb Learn more about your ad choices. Visit megaphone.fm/adchoices

Songs of Freedom, Justice, and Solidarity with your host Peter Donalds. Episode 2 features music from Elaine Purkey, Stevie Wonder, Windborne Singers, Woody Guthrie, and more. For complete playlists and links to all episodes visit our website.

We are thrilled to welcome Susan Shillinglaw, the preeminent John Steinbeck scholar, to discuss one of Hemingway's contemporaries and fellow Nobel laureates. Although Hemingway and Steinbeck are not discussed comparatively as frequently as some of his other fellow literary titans, Prof. Shillinglaw talks about Steinbeck's life, career, and temperament in ways that will inspire us to remap the overlaps between these two men. We explore Steinbeck's fondness for “The Butterfly and the Tank,” Hemingway and Steinbeck's different paths during the 1930s, the way The Red Pony's Jody Tiflin functions as a Nick Adams-like character, and much more. Make sure to tune in to the very end of the episode! In honor of Steinbeck, our friend Michael Kim Roos treats us to a version of Woody Guthrie's “Tom Joad.” For more information about Mike's music, see: https://mikeroos.com. 

Welcome to the Legends Podcast by All Day Vinyl, hosted by Scott Dudelson. In this captivating episode, Scott engages in a conversation with the legendary Barry "The Fish" Melton, co-founder of Country Joe and the Fish, a pivotal band in the psychedelic rock movement. Barry shares enthralling tales from his time in the music world, starting with the origins of his nickname to co-founding Country Joe and the Fish. Discover how his musical path interwove with historic music festivals like Monterey Pop and Woodstock, events that defined a generation. Barry shares intriguing snippets, from performing while on psychedelic substances, Woodstock memories and backstage insights with fellow musicians like Jimi Hendrix and The Who, offering a glimpse into the vibrant and chaotic world of 1960s rock. Barry also delves into his ties with iconic figures like Woody Guthrie and the influence of being raised in a politically active family. He reminisces about the early days of playing folk music, his journeys through the Los Angeles and San Francisco music scenes, and the notable characters he met along the way. Join us as Barry elaborates on the profound impacts of music, culture, and the turbulent 60s, sharing personal stories, the whims of band life, and the unique experiences of living through historic transformational periods. His remarkable journey from a psychedelic folk-rock musician to a practicing lawyer offers a testament to his dynamic and multifaceted life. If you enjoy this episode please like, rate and subscribe and check us out on YouTube and Instagram @alldayvinyl 

A modern and compelling take on protest songs that doesn't lean on outrage so much as "there but for the grace of God", and a cover by an artist who redefined what this kind of song can do in the world. Beautiful Strangers, originally by Kevin Morby, covered by Mavis Staples.  Outro music is I Ain't Got No Home In This World Anymore by Woody Guthrie. 

Pacific St Blues & AmericanaFebruary 8, 2026Bruce Springsteen Spotlight Show playlistPart 1 of 2 Intro & Biggest Influence: Bob Dylan: 1. Eric Church / Springsteen2. Rick Springfield / Bruce3. The Traveling Wilburys (Bob Dylan) / Tweeter and the Monkey Man4. Bruce Springsteen, Bonnie Raitt, Jackson Browne /Highway 61 Revisited  Influences: Roy Orbison & Elvis Presley: 5. Roy Orbison (Traveling Wilbury) / Only the Lonely6. Cowboy Junkies / Thunder Road,7. Bruce Springsteen / Viva Las Vegas (cover Elvis Presley)8. Bruce Springsteen / Johnny Bye ByeInfluences: Pete Seeger & Woody Guthrie:9. Pete Seeger / Where Have All the Flowers Gone.10. Woody Guthrie / This Land is Your Land11. The Carter Family / The World's On Fire12. Bruce Springsteen / Vigilante ManSoul Man? Soul Man! 13. Jerry Butler / Only the Strong Survive (2022)14. Eddie Vedder /  My City of Ruins15. Bruce Springsteen / I'm Not Sleeping16. Eddie Floyd / Raise Your Hand (Live) (Stax Records)Producers Phil Spector & Jimmy Webb: 17. Ike & Tina Turner / River Deep, Mountain High18. Southside Johnny & the Asbury Jukes / Fade Away (Spittin' Fire album)19. Glen Campbell / Wichita Lineman20. Bruce Springsteen / Sundown

This is the first episode in a series I plan on doing on protest music. Decades ago Woody Guthrie wrote a song that told the story of Tom Joad from Grapes of Wrath. After that Bruce Springsteen wrote an interpolation of Guthrie's song, and not long after that Rage Against The Machine covered Bruce's song in their own style. The story of Tom Joad still resonates today, and I wanted to share the history of this American classic. I hope you dig it! 

This week's show, after a 1944 Woody Guthrie warble: brand new Billy Bragg, Black Watch, Greg Weeks, Damned, Ratboys, Julies, Sleaford Mods, and Bruce Springsteen, plus The Creation, Arthur Alexander, Billy J. Kramer, Beatles, Dottie West, Lloyd Charm...

We look at Bruce Springsteen's rapid response to deaths at the hands of federal agents in Minnesota — and the long history of other fast-turnaround protest songs, from Woody Guthrie to Nina Simone to Buffalo Springfield to Lil' Baby. Andy Greene joins host Brian Hiatt for the discussion. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Understanding "Streets of Minneapolis"With Springsteen's latest single reaching #1 in 19 countries, we're witnessing a significant cultural moment. I'm proposing an exploration of the controversial, "Streets of Minneapolis"—examining it within a powerful American musical tradition that stretches back over eight decades.A Tradition of Musical CommentaryThis story begins in 1944, when Woody Guthrie (not Arlo—Woody was his father) wrote "This Land Is Your Land" as a response to Irving Berlin's "God Bless America." What seemed like competing patriotic songs represented something deeper: different visions of what it means to love your country. Berlin offered celebration; Guthrie offered reflection—including verses about inequality and hardship that rarely get sung today.Guthrie embraced a form of patriotism rooted in the Declaration of Independence—one that believes loving your country includes acknowledging where it falls short of its ideals. Writing during World War II and the aftermath of the Depression, Guthrie demonstrated how music could both honor and challenge the nation simultaneously.How Music Reaches Us DifferentlyThat approach influenced Pete Seeger, Joan Baez, and Bob Dylan—artists who discovered that songs could communicate social commentary to audiences who might not engage with traditional political discourse. A three-minute song on the radio could spark reflection in ways other media couldn't.Consider "Born in the U.S.A." How many of us have heard it as a celebration when Springsteen wrote it, in Guthrie's tradition, as a pointed critique of how America treats its veterans? Forty years later, it's still frequently misunderstood—even used at political rallies in ways that contradict its message. This pattern raises important questions about how we engage with art.When Music Captures a MomentIn 1970, after the Ohio National Guard killed four students at Kent State University, Neil Young wrote "Ohio" almost immediately. Released by Crosby, Stills, Nash & Young within weeks, the radio-friendly song brought that tragedy into millions of homes, forcing a national conversation.What "Streets of Minneapolis" Asks of Us"Streets of Minneapolis" follows in this tradition—echoing "Ohio" across five decades. Like those earlier songs, it's not primarily about comfort; it's about bearing witness and prompting reflection.The question worth considering: Will we engage with what the song is actually saying, or will it become another anthem whose meaning gets lost over time?An Invitation to Listen Thoughtfully. An opportunity to make your own decisions. This isn't about taking political sides. It's about recognizing a form of patriotism that asks something of us—the kind that believes loving your country includes honest examination of difficult moments.Hosts: Rick Galusha & Mike OlsonKate Smith / God Bless America (1939)Woody Guthrie / This Land is Your Land (1940) Carter Family / The World's On Fire (1925) Bruce Springsteen / Born in the USA (1984) [Nebraska] Neil Young / Ohio (1970) Bruce Springsteen / Streets of Minneapolis (2026) Norah Jones / American Anthem 

On the January 29 edition of the Music History Today podcast, we have Bob Dylan & Woody Guthrie & the event that inspired the song I Don't Like Mondays takes placeFor more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY  PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayChapters: 00:00 Intro 00:16 What happened on this date in music history03:23 Music award ceremonies that were held on this date in music history03:51 Albums released on this date in music history 04:52 Singles released on this date in music history 06:19 Podcast advertisement 06:52 Birthdays of music artists on this date in music history 07:59 Passings of music artists on this date in music history 09:14 What's on tomorrow's episode

Che cosa è successo a Minneapolis, e che cosa significa per la democrazia negli Stati Uniti. Con Marina Catucci, corrispondente dagli Stati Uniti per Il manifesto. Leggi Da Costa a Costa, la newsletter di Francesco Costa sugli Stati Uniti  Ascolta Sindrome americana, il podcast di Marina Catucci ⁠⁠⁠⁠⁠⁠⁠Il link per abbonarti al Post e ascoltare la puntata per intero⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. I consigli di Marina Catucci– “All You Fascists Bound to Lose” di Woody Guthrie cantato dal Resistance Revival Chorus – Rules for Radicals: A Pragmatic Primer for Realistic Radicalsdi Saul Alinsky– Il film Selma - La strada per la libertà Learn more about your ad choices. Visit megaphone.fm/adchoices

These two folk artists have made an incredible piece of art. It came out at the end of last year, and it's been on repeat in my headphones for awhile now. I've always loved to socially conscious lyrics of Woody Guthrie and this album feels like the best parts of what he was doing decades ago. I hope you dig it! 

Send us a textIntro: On the Atchison, Topeka and the Santa Fe by Johnny Mercer (1944)45. That Lucky Old Sun (Just Rolls Around Heaven All Day) by Frankie Laine (1949)44. This Land is Your Land by Woody Guthrie (1945)43. Twelfth Street Rag by Pee Wee Hunt (1948)42. Lover Man by Billie Holiday (1945)41. Body and Soul by Coleman Hawkins (1939)

Join Kate Stanton Melendez for an interview with Tamara Garvey, past host of the show, & beloved local artist & illustrator.   Tamara Garvey has a BFA in Illustration from SCAD; you can find her quirky pen & ink artwork at Gallery 209 (among others) & or catch her working in her studio in City Market. Garvey's solo show "The Winter of our Discontent" at Gallery 2424 opens next Friday, January 30th, and runs through Saturday, February 21st, 2026.   "The Winter of our Discontent" is a multimedia solo show that pairs the Log Lady from the David Lynch show "Twin Peaks" with recordings of American women responding to J.D. Vance's infamous "childless cat ladies" statements. It features witchery, suffragism, Woody Guthrie, & Ruth Bader Ginsberg.    Special Events Calendar: Opening Reception: Friday, January 30th from 5PM-9PM First Fridays Reception: Friday, February 6th from 5PM-9PM Artist Talk: Sunday, February 15th at 3PM.   Gallery 2424 is also open on Saturdays & Sundays from 1PM-4PM.      See more of Tamara's work here: https://www.instagram.com/tamgarv https://www.tamaragarvey.com/   Read more about the solo show here: https://www.tamaragarvey.com/winter-of-our-discontent      

One of the most obnoxious sounds in nature is the whine of a Wall Street banker. It's a cross between the tantrum of a peevish brat and the blathering of a sputtering old plutocrat.Consider the long, piteous whimper of Jamie Dimon, potentate of the powerful JPMorgan Chase banking empire. He constantly whines about laws to restrict banker greed, even toting around a Rube Goldberg-style cartoon depicting a tangle of rules that, he squeals, is choking poor Wall Streeters like him.Before you break into tears about Jamie's plight, though, notice that he and his bank are not choking on rules, but gorging on riches. Dimon himself pocketed – get this -- $770 million in personal pay last year.Golly, we should all suffer like poor Jamie!And he's hardly alone in singing the “Talking Banker Blues,” for that elite clique has long pouted that they're paupers compared to the billionaires of high tech. So, mounting an odd boardroom “labor action,” bankers have been getting drastic payhikes. The CEO of Citigroup, for example, recently set a new bottom line expectation for top-floor bankers: A 2025 paycheck of more than $100 million!How can a business lavish such a windfall on one guy? Easy. The CEO slashed tens of thousands of bank employees from Citi's payroll last year, so he got their pay.Woody Guthrie once wrote a parody of such predatory behavior, singing “I am a jolly banker, A jolly banker am I.” Today's Wall Street aristocrats are jolly, too, bloating their extravagant wealth by taking wages and livelihoods from thousands of their own employees. As Woody might sing, that's how inequality “happens.”Do something!Wanna fight the bankers and their rigged systems? Americans for Financial Reform thinks that “the financial system should serve an economy where everyone can thrive, not just enrich a powerful few.” Sounds great to us! Check them out at ourfinancialsecurity.org.Jim Hightower's Lowdown is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimhightower.substack.com/subscribe

Hosts Nate Wilcox and James Porter discuss Country Music during the Depression and World War 2 and the artists, like Roy Acuff and Bob Wills, and the Maddox Brothers and Rose who dominated the era. ⁠⁠GO TO THE LET IT ROLL SUBSTACK TO HEAR THE FULL EPISODE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ -- The final 15 minutes of this episode are exclusively for paying subscribers to the Let It Roll Substack. Also subscribe to the LET IT ROLL EXTRA feed on Apple, Spotify or your preferred podcast service to access the full episodes via your preferred podcast outlet. We've got all 350+ episodes listed, organized by mini-series, genre, era, co-host, guest and more. Please consider becoming a paid subscriber to support the show. Thanks! Email ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠letitrollpodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow us on Twitter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Let It Roll is proud to be part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Pantheon Podcast⁠s⁠⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

The year is 1992, the film is Bob Roberts... a political mockumentary satire. The director, first-time filmmaker (and star) Tim Robbins. And it's also the first film role for a lovable gent named Jack Black. We dig into the parallels between Bob Roberts and present day American politics and consider the right wing folk songs that were, at one point, comedic in their absurdity. Plus, we get into it with the MouthGarf Report, and play a nice round of I See What You Did There.Additional Sources:https://en.wikipedia.org/wiki/Bob_Robertshttps://www.cracked.com/article_40869_when-tim-robbins-tried-and-failed-to-be-the-most-controversial-snl-host.htmlPlease give us a 5 star rating on Apple Podcasts! Want to ask us a question? Talk to us! Email debutbuddies@gmail.comListen to the archives of Kelly and Chelsea's awesome horror movie podcast, Never Show the Monster.Get some sci-fi from Spaceboy Books.Get down with Michael J. O'Connor and the Cold Family and check out his new compilation The Best of the Bad Years 2005 - 2025Next time: First Attempt at Time Travel

Musician Sammy Brue is folksy artist with a vision. His latest project chronicles the life of American singer-songwriter Justin Townes Earle, using Earle’s journals gifted to Brue. With inspirations like Robert Johnston and Woody Guthrie, Brue hopes the album will tell an “emotional, existential” story that perserves Earle’s legacy. The post Episode #492 — Sammy Brue first appeared on SLUG Magazine.

 What an amazing conversation we had with Cole Quest of Cole Quest and the City Pickers.  We talked about their latest album “Home Grown,” how Cole serves as the band leader and band member, and their performance on the famous Mountain Stage!  Rooted in tradition yet driven by a restless New York energy, Cole Quest and The City Pickers are carrying bluegrass forward with wit, warmth, and originality. Led by dobro player, songwriter, and vocalist Cole Quest — grandson of folk icon Woody Guthrie —the band has carved out a singular place in today's roots music landscape.    Their latest album, Homegrown (Jalopy Records, 2025), produced by Grammy Award–winning engineer Steve Rosenthal, brings the band's journey into full focus. The record weaves four new originals with reimagined takes on songs by John Hartford, Peter Rowan, and Woody Guthriehimself, linking Cole's own creative voice with his grandfather's enduring legacy. No Depression hailed it as “an album that deftly moves the legacy of Woody Guthrie along in all the right ways.” Critics like Songlines (UK), Glide Magazine, and the Berkshire Eagle have noted how the bandhonors its lineage while commanding its own path. Their broad recognition includes a Bluegrass Standard cover (August 2025) and a feature in Bluegrass Unlimited.   Formed by friends with a shared love of bluegrass, Quest first pulled the Pickers together in 2017 to record their debut self-titled project at the legendary Magic Shop studio. They went on to release their acclaimed EP Self [En]Titled on Omnivore Records in 2021. Over the years, they've won the Podunk Bluegrass Festival band competition, toured Germany multiple times, and shared stages with artists like Billy Strings, Sierra Hull, and Tony Trischka.  Be sure to check Cole and the city pickers out here:   Website: colequest.com  Band Camp: Cole Quest and the City Pickers  FB: Cole Quest and the City Pickers  IG: citypickers  YouTube: Citypickers  

UK Subs formed in 1976 when Charlie Harper was 32. They've had over 80 members, some of whom he can't remember. They never split up and are touring in 2026 to celebrate his 82nd birthday. “I vowed I'd keep playing as long at the Stones - which I'm now starting to regret!” After 50 years on the punk frontline, he's the first to see the humour in going deaf and “having to have the occasional sit-down”. This fond and honest conversation looks back at … … seeing the Stones at Ken Colyers' jazz club and drinking with them in the Porcupine … making £4 a day – “a fortune” – playing tube stations in 1964: “ex-buskers never get stagefright” … “dreadlocks, Afros, convoy cuts” – confessions of a teenage hairdresser … what he learnt from Joe Strummer and the 101-ers … his punk epiphany: seeing the Damned at the Roxy in 1976 … playing France's Hellfest to 30,000 people and why the spirit of ‘77 still burns on the West Coast … famous fans: Guns N'Roses, Hanoi Rocks, Dinosaur Jnr … the UK Subs' run-in with US Immigration … skiffle, Jesse Fuller, Woody Guthrie, Big Bill Broonzy, Donovan and mid-‘70s R&B …the onstage rigours of getting old: “I don't get adrenaline anymore and have to have the occasional sit-down!” … Where Did I Leave My Glasses? Why Did I Come Upstairs? – our fantasy tracks for the senior citizen! Order UK Subs tickets here: https://ww.uksubstimeandmatter.net/index.php?option=com_content&view=article&id=16899&Itemid=161Help us to keep The Longest Conversation In Rock going: https://www.patreon.com/wordinyourear Hosted on Acast. See acast.com/privacy for more information.

Years ago, Woody Guthrie wrote “Mean Talking Blues,” a stinging satire of malicious right-wing officials who take perverse pleasure in demonizing, holding down, and punishing poor people:“I'm a big disasterJust goin' some place to happenI'm an organized famineStudying how I can be a little bit meanerI laugh my loudestWhen other people cryI hate everybody don't think like meI'm just mean.”What a perfect theme song for Trump's “Project 2025” – a MAGA crusade to stomp on millions of America's poorest families, trying to deny them access to the most basic human needs.Needs like… food. Brooke Rollins, Trump's multi-millionaire agriculture secretary, made crude political jokes about poor people during the GOP's government shutdown, laughing as she schemed to cut off their food stamps. She was an “organized famine,” illegally maneuvering to deny food for 42 million hard-hit American citizens.In addition, Project 2025 operatives want to yank health coverage from the poor – and just for meanness – they propose killing the modest program that helps impoverished families afford to have heat in their homes.Meanwhile, Trump poses as The Great Gatsby, living in tacky opulence, while ignoring the economic mess and rank inequality created by his Roaring 20s plutocratic presidency. Indeed, the inequality is widening as he doles out hundreds of billions of our tax dollars in new giveaways to billionaires (including to his own sons).Far from “Making America Great Again,” Trump's most tangible achievement is to have had the White House's Lincoln bathroom remodeled. And, in a royal touch, Trump even had a chandelier installed above the toilet. Imagine how proud Honest Abe would be.Jim Hightower's Lowdown is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit jimhightower.substack.com/subscribe

On September 20, 1973, Jim Croce — the singer-songwriter whose plainspoken poetry captured the heart of working-class America — died at the age of 30 in a plane crash just as his star was on the rise. With timeless hits like Bad, Bad Leroy Brown, Operator, and Time in a Bottle, Croce helped revive the folk-rock and singer-songwriter tradition that stretched from Woody Guthrie to Bob Dylan, blending blue-collar realism with universal emotion. His sudden death, coming only days before the release of I Got a Name, cut short a remarkable rise and left behind a legacy that has endured for generations. Hosts: Jason Beckerman & Derek Kaufman Learn more about your ad choices. Visit podcastchoices.com/adchoices