Podcasts about zappa

This week on Sinica, I chat with Stephen Platt, historian at UMass Amherst and author, most recently, of the book The Raider: The Untold Story of a Renegade Marine and the Birth of U.S. Special Forces in World War II. Like his previous works, Autumn in the Heavenly Kingdom and Imperial Twilight, it offers a compelling narrative history of an overlooked chapter through a deeply empathetic and well-researched examination of individual lives. Please make sure to listen to the excerpt from the audiobook at the end of this podcast.04:21 - Evans Carlson: A forgotten hero07:49 - The Real Carlson vs. the constructed Carlson10:04 - The book's origin12:20 - Carlson's ideological transformation16:50 - Carlson's religious beliefs and public perception20:04 - Emerson's influence on Carlson's thinking 23:46 - Inner conflicts: Soul-searching or regret?27:15 - Carlson's relationship with President Franklin D. Roosevelt30:39 - Gung Ho Meetings: meaning, practice, and legacy33:34 - Zhu De's influence on Carlson 40:28 - Carlson's relationships with Agnes Smedley and Edgar Snow47:49 - Hopes for U.S.-China alliance 51:57 - Carlson's death and his legacy 58:01 - Lessons from CarlsonPaying it Forward: Peter Thilly, Emily MokrosRecommendations: Stephen: 11.22.63 by Stephen King; Ted Chiang (author); Otoboke Beaver (band); Book of Mormon (musical)Kaiser: Wobbler (band); The Religion by Tim Willocks; Zappa (2020)See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Brian, Blake, and Richard are back for Episode 569 of the Chasing Tone Podcast - Don't touch Mr Frost's Muff and Brian makes a huge confession   Good Morning tonechasers! Brian van Winkel has aroused himself from his slumber and he is suffering from a severe case of builders' crack but has invented the successor to MTV so all is well. Do you enjoy making music? Some Ai feller thinks that the fun is not in the playing and the guys rage apoplectic at this outrageous notion.  Brian tries to describe a famous cryptid and fails and the irony is observed. The rise of Ai videos has got the guys worried (again) so Richard asks the machine what Brian thinks about Pink Floyd...and he makes a huge surprise confession! Richard is sad about the death of Sly Stone and pays tribute to one of his favorite musical bandleaders of all time. Should Wampler make a new tweaked Tumnus? There was a post in the Wampler Facebook group and Richard challenges Brian with the idea. Richard has an idea for a new video series and Blake is not impressed as he repeats his explanations. He has also has visited the worst pub in the world and tells us about it. Blake is excited by the Wigan kebab. Kirk Hammett's secret sales, Zappa, Thierry Henry, The Tumnus company, Holy Holy, Scotch Eggs, Roadhouse Blues...it's all in this week's Chasing Tone!We are on Patreon now too!Support the show (https://www.patreon.com/chasingtonepodcast)Youtube:https://www.youtube.com/@chasingtonepodcastAwesome Course, Merch and DIY mods:https://www.guitarpedalcourse.com/https://www.wamplerdiy.com/Find us at:https://www.wamplerpedals.com/https://www.instagram.com/WamplerPedals/https://www.facebook.com/groups/wamplerfanpage/Contact us at: podcast@wamplerpedals.comSupport the show

You may know Pete Griffin as the bass player for 'real life cartoon band' Dethklok, but that is just one of the many musical hats Pete dons on a regular basis. From touring with pop megastars Hanson to Zappa Plays Zappa and Generation Axe, Griffin is not only capable in these different acts and genres but authentic, not an easy feat! Pete WEB: https://petegriffinbass.com/#aboutInsta: https://www.instagram.com/petegriffinbass/YT: https://www.youtube.com/PeteGriffinBassMe :INSTA: https://www.instagram.com/basslessonsmelbourne/MY MUSIC https://open.spotify.com/artist/3DPXwb75biH3nUBuAULz0yFACEBOOK http://www.facebook.com/bassguitarlessonsmelbourneWEBSITE http://www.basslessonsmelbourne.com

Frank Zappa is an odd duck. His massive back catalogue of albums attracts both reverence and ambivalence from music fans. Stylistically, he covered so much ground covering doo wop, blues, psych, jazz fusion and dissonant orchestral music. Unlike many of his rock and roll contemporaries, he always believed in infusing a sense of humour into his music – both compositionally and lyrically….though since what strikes some as funny is so subjective, it couldn't appeal to everyone. He wrote about commercialism in America, the hypocrisy of conservatives and liberals in American society, and….umm….body parts. Welcome to episode 127 of See Hear Podcast. Tim, Kerry and I pontificate about the work of Frank Zappa with an eye towards his 1972 film, 200 Motels. It's a surreal work that's supposed to be his take on what life on the road is like for a working band – encountering rednecks and groupies, band egos and paranoia (the latter for good reason in this instance), and drug use. The film is vignette based with music provided by the 2nd incarnation of the Mothers of Invention and the London Philharmonic Orchestra. Zappa spent 4 years composing and arranging the music, and much less time writing a script. That works out as well as expected. As well as discussing 200 Motels, we put the background towards its creation in context, thanks to an excellent documentary called “Frank Zappa – Free Jazz, Movie Madness & Another Mothers”(available on Tubi). Many thanks to Tom Stein for making us aware of that film's existence. If our discussion goes all over the place, maybe it's a tribute to the structure of 200 Motels. Tune in and hear where we stand on this surreal piece of cinema. Is it Luis Bunuel? Well….would Luis Bunuel have dressed Ringo Starr up as a tall dwarf with a desire to do something with a genie lamp to Keith Moon dressed as a nun? The answer is probably “When will we get paid….” If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

Frank Zappa is an odd duck. His massive back catalogue of albums attracts both reverence and ambivalence from music fans. Stylistically, he covered so much ground covering doo wop, blues, psych, jazz fusion and dissonant orchestral music. Unlike many of his rock and roll contemporaries, he always believed in infusing a sense of humour into his music – both compositionally and lyrically….though since what strikes some as funny is so subjective, it couldn't appeal to everyone. He wrote about commercialism in America, the hypocrisy of conservatives and liberals in American society, and….umm….body parts. Welcome to episode 127 of See Hear Podcast. Tim, Kerry and I pontificate about the work of Frank Zappa with an eye towards his 1971 film, 200 Motels. It's a surreal work that's supposed to be his take on what life on the road is like for a working band – encountering rednecks and groupies, band egos and paranoia (the latter for good reason in this instance), and drug use. The film is vignette based with music provided by the 2nd incarnation of the Mothers of Invention and the London Philharmonic Orchestra. Zappa spent 4 years composing and arranging the music, and much less time writing a script. That works out as well as expected. As well as discussing 200 Motels, we put the background towards its creation in context, thanks to an excellent documentary called “Frank Zappa – Free Jazz, Movie Madness & Another Mothers”(available on Tubi). Many thanks to Tom Stein for making us aware of that film's existence. If our discussion goes all over the place, maybe it's a tribute to the structure of 200 Motels. Tune in and hear where we stand on this surreal piece of cinema. Is it Luis Bunuel? Well….would Luis Bunuel have dressed Ringo Starr up as a tall dwarf with a desire to do something with a genie lamp to Keith Moon dressed as a nun? The answer is probably “When will we get paid….” If you've been enjoying the show, please consider giving us a favourable review on iTunes and let your friends know that our show exists. If you don't enjoy the show, tell your adversaries to tune in. We don't care who listens..... See Hear is proudly part of the Pantheon Network of music podcasts. Check out all the other wonderful shows at http://pantheonpodcasts.com Send us feedback via email at seehearpodcast@gmail.com Join the Facebook group at http://facebook.com/groups/seehearpodcast You can download the show by searching for See Hear on whatever podcast app you favour (except Spotify). Learn more about your ad choices. Visit megaphone.fm/adchoices

This Week on America's Podcast – we're heading into the desert with the album that made U2 a household name: The Joshua Tree. Joining us for this sonic pilgrimage are Travis Perrotta and Andy Rodriguez to help decide—does this album “Bullet the Blue Sky” or make you want to “Exit” because you “Still Haven't Found What You're Looking For”? No spoilers—but Bono might be lurking in your conscience. Tracks of the Week: Jerry picks Giant's “I'll See You In My Dreams” – pure 80s power-ballad magic, Aqua Net sold separately. Andy throws down “Rock Forever” by Judas Priest – because some priests don't preach, they shred. Mooger chills things out with “Don't Dream It's Over” by Crowded House – a song so smooth it should come with a hammock. Travis goes full Zappa with “My Guitar Wants to Kill Your Mama” – rock, rebellion, and a guitar with unresolved issues. And we wrap it all up with Marc's pick: Sammy Hagar's “Encore, Thank You, Goodnight” – because who doesn't love a dramatic mic drop? Until next week, go where the streets have no name, be kind, and as always—be a good human. #AmericasPodcast #U2 #TheJoshuaTree #StillHaventFound #PodcastVibes #RockTalk #ZappaZone #CrowdedHouseFeels #JudasPriest #SammyHagar #EncoreThankYouGoodnight #BeAGoodHuman

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A few months ago, I was chatting with my sister and out of nowhere she asked me if I had done a Valley Girl podcast yet. She loves this movie and it has come up a few times over the years. I responded that I hadn't gotten to it yet and that I would get to it soon. I had actually tried to record it many years ago, in my first year or so of podcast, but I don't think I handled it well, and never released it. I felt a little guilty and so I decided that I needed to get a Valley Girl episode into the feed. I start the show talking about what it was like not having agency in what videos were rented in your house. Being the youngest, I was a little resentful at the time, but now I realize how much richer my life is because of all the movies I was exposed to that I never would have chosen. One of those is Valley Girl, which my sister rented for herself, but I was never one to shy away from new entertainment and I watched it as well multiple times. After I finished telling my story I move onto the film itself. I discuss how a Zappa song turned into a lawsuit that didn't derail a film that has often been described as Vall-sploitation. Other films in this genre were released, but non were as well-made and well-acted as this one. Then I talk about production, the case, the music, the reception, and much more. I am not sure why Valley Girl isn't more popular. Maybe its because its a little rough around the edges, but I find that charming. It, and movies lie, Fast Times at Ridgemont High, helped to establish tropes that other 80s films would borrow, and it deserves to be watched and celebrated.

Just because Phish got shunned by the Rock & Roll Hall of Fame this year doesn't mean they're not one of the most influential bands in rock. In fact, more than 329,000 fans voted for their induction! And Phish guitarist Trey Anastasio has led those legions for over four decades.In this episode, we're talking Trey and Phish, including how they sound more like Zappa than the Grateful Dead, what it's like to see them live, and whether they're a love/hate band or there's room to be a casual Phan. Plus, at last year's NAMM Show, both hosts spent some time with a new Languedoc build, so we're talking about what it feels like to play one of Trey's guitars, and we do an informal rundown of his rig.Episode brought to you by Fishman: https://www.fishman.com/Follow Nick: https://www.instagram.com/nickmillevoiFollow Jason: https://www.instagram.com/jasonshadrickGet at us: 100guitarists@premierguitar.comCall/Text: 319-423-9734Podcast powered by Sweetwater. Get your podcast set up here! - https://sweetwater.sjv.io/75rE0dSubscribe to the podcast:Spotify: https://open.spotify.com/show/0aXdYIDOmS8KtZaZGNazVb?si=c63d98737a6146afApple: https://podcasts.apple.com/us/podcast/100-guitarists/id1746527331

Send us a textGet Ready To Groove: Why Brass Camel Is The Band You Need To Know About Right Now!#newmusic #progrock #progfunk #camel #newalbum After successfully criss-crossing Canada three times on the strength of a word-of-mouth reputation and a hard-earned live following, Vancouver-based Brass Camel return with their second full-length record: Camel. Clocking in at 40 minutes across just six tracks, the album is an unapologetic artistic statement from a band whose sound resists easy classification—equal parts progressive rock ambition and deep-pocket groove, with no shortage of swagger, surprises, and soul.Their self-styled “prog-funk” sound may raise eyebrows on paper, but as multiple Grammy-winner Fantastic Negrito put it: “They sound like a funky Rush.” Or, as Big Sugar frontman Gordie Johnson (who also guests on the record as the group's Zappa-tinged “cat whisperer”) once declared, “Brass Camel…man, they're good worldwide.”Following their 2022 debut Brass, the band doubled down—both on the road and in the studio. Camel is the result of that momentum: two 11-minute bookends, four shapeshifting shorter tracks, and zero interest in playing it safe.Website: https://www.brasscamel.ca/epkInstagram: https://www.instagram.com/brasscamelFacebook: https://www.facebook.com/brassycamelApplemusic: https://music.apple.com/ca/artist/brass-camel/1629161926Spotify: https://open.spotify.com/artist/59HNn8uI1RIbWzmPUy5pFm?si=54e041a98f934c34&nd=1&dlsi=aa86680918574875Bandcamp: https://brasscamelband.bandcamp.com/Youtube: https://www.youtube.com/@UCx1fnIXz40ZxIBAWmmjXtjg TikTok: https://www.tiktok.com/@UCx1fnIXz40ZxIBAWmmjXtjg Thanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@KoyoteFor all our social media and other links, go to: Linktree: https://linktr.ee/the_vibes_broadcastPlease subscribe, like, and share!

Moon Zappa grew up in what appeared, on the outside, to be an enviably free-wheeling and creative household in Laurel Canyon. On the inside, not so much. Her extremely funny, soul-baring and colourful account of dysfunctional family life in her memoir Earth To Moon is as gripping as it's unsettling. A typical day: “Your mother's on the rampage, I need you to hide the gun!” Only other children with famous parents can fully gauge the emotional turmoil. She talks here about her memoir Earth To Moon – just out in paperback – and the impact of Frank's work and tours on the frail domestic set-up and the years they all spent “stewarding his genius”. Along with … … “is genius worth the collateral damage?” … fond memories of rare moments with her workaholic father. … the Zappa family's perilous finances: “Could he write a pop song or did he just choose not to?” ... how she was shut out of the control of Frank's estate “plus a clause saying if I found religion I'd get no money at all”. … the nurses' reaction when they discovered her new-born brother was named ‘Dweezil'. ... recording Valley Girl, the song that made her a teenage star and changed the family fortunes but got no gratitude from her parents. … why Frank found Valley Girl's success “mortifying”. And how her one catastrophic live version put her off stage performance for life. … and that unique bond you have with other celebrity offspring: “Jakob Dylan and I just cackle with laughter. ‘That happened to you too?'” Order ‘Earth To Moon' in paperback here:https://www.amazon.co.uk/Earth-Moon-Unit-Zappa/dp/1474623859/ref=asc_df_1474623859?mcid=ae11e321cea83f4486c71a35dd95a9ea&th=1&psc=1&hvocijid=15982814295882496701-1474623859-&hvexpln=74&tag=googshopuk-21&linkCode=df0&hvadid=696285193871&hvpos=&hvnetw=g&hvrand=15982814295882496701&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9072502&hvtargid=pla-2281435176458&psc=1&gad_source=1Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Moon Zappa grew up in what appeared, on the outside, to be an enviably free-wheeling and creative household in Laurel Canyon. On the inside, not so much. Her extremely funny, soul-baring and colourful account of dysfunctional family life in her memoir Earth To Moon is as gripping as it's unsettling. A typical day: “Your mother's on the rampage, I need you to hide the gun!” Only other children with famous parents can fully gauge the emotional turmoil. She talks here about her memoir Earth To Moon – just out in paperback – and the impact of Frank's work and tours on the frail domestic set-up and the years they all spent “stewarding his genius”. Along with … … “is genius worth the collateral damage?” … fond memories of rare moments with her workaholic father. … the Zappa family's perilous finances: “Could he write a pop song or did he just choose not to?” ... how she was shut out of the control of Frank's estate “plus a clause saying if I found religion I'd get no money at all”. … the nurses' reaction when they discovered her new-born brother was named ‘Dweezil'. ... recording Valley Girl, the song that made her a teenage star and changed the family fortunes but got no gratitude from her parents. … why Frank found Valley Girl's success “mortifying”. And how her one catastrophic live version put her off stage performance for life. … and that unique bond you have with other celebrity offspring: “Jakob Dylan and I just cackle with laughter. ‘That happened to you too?'” Order ‘Earth To Moon' in paperback here:https://www.amazon.co.uk/Earth-Moon-Unit-Zappa/dp/1474623859/ref=asc_df_1474623859?mcid=ae11e321cea83f4486c71a35dd95a9ea&th=1&psc=1&hvocijid=15982814295882496701-1474623859-&hvexpln=74&tag=googshopuk-21&linkCode=df0&hvadid=696285193871&hvpos=&hvnetw=g&hvrand=15982814295882496701&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9072502&hvtargid=pla-2281435176458&psc=1&gad_source=1Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Moon Zappa grew up in what appeared, on the outside, to be an enviably free-wheeling and creative household in Laurel Canyon. On the inside, not so much. Her extremely funny, soul-baring and colourful account of dysfunctional family life in her memoir Earth To Moon is as gripping as it's unsettling. A typical day: “Your mother's on the rampage, I need you to hide the gun!” Only other children with famous parents can fully gauge the emotional turmoil. She talks here about her memoir Earth To Moon – just out in paperback – and the impact of Frank's work and tours on the frail domestic set-up and the years they all spent “stewarding his genius”. Along with … … “is genius worth the collateral damage?” … fond memories of rare moments with her workaholic father. … the Zappa family's perilous finances: “Could he write a pop song or did he just choose not to?” ... how she was shut out of the control of Frank's estate “plus a clause saying if I found religion I'd get no money at all”. … the nurses' reaction when they discovered her new-born brother was named ‘Dweezil'. ... recording Valley Girl, the song that made her a teenage star and changed the family fortunes but got no gratitude from her parents. … why Frank found Valley Girl's success “mortifying”. And how her one catastrophic live version put her off stage performance for life. … and that unique bond you have with other celebrity offspring: “Jakob Dylan and I just cackle with laughter. ‘That happened to you too?'” Order ‘Earth To Moon' in paperback here:https://www.amazon.co.uk/Earth-Moon-Unit-Zappa/dp/1474623859/ref=asc_df_1474623859?mcid=ae11e321cea83f4486c71a35dd95a9ea&th=1&psc=1&hvocijid=15982814295882496701-1474623859-&hvexpln=74&tag=googshopuk-21&linkCode=df0&hvadid=696285193871&hvpos=&hvnetw=g&hvrand=15982814295882496701&hvpone=&hvptwo=&hvqmt=&hvdev=c&hvdvcmdl=&hvlocint=&hvlocphy=9072502&hvtargid=pla-2281435176458&psc=1&gad_source=1Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

This week, you'll dive headfirst into the wild ride of Joe Travers' drumming journey—from pounding out St. Patrick's Day gigs to landing his dream job playing Zappa's music. Joe shares how knowing exactly what you want—and fearlessly putting yourself out there—can open doors you never imagined. You'll hear what it's […] The post The Vaultmeister's Voice: Joe Travers on Zappa, Duran Duran, and the Power of Performance — Gig Gab 476 appeared first on Gig Gab.

From MPR News, Art Hounds are members of the Minnesota arts community who look beyond their own work to highlight what's exciting in local art. Their recommendations are lightly edited from the audio heard in the player above. Want to be an Art Hound? Submit here.Musical premiere in Bemidji tackles small-town healingKevin Cease of Bemidji is a funeral director and fan of community theater. He's looking forward to the world premiere of “Water from Snow,” a new musical by Janet Preus, co-written with Robert Elhai and Fred Steele. The show runs through Sunday, April 13. Tickets here.NOTE: The “Water from Snow” premiere has been postponed until April 11.Kevin said: I'm looking forward to the world premiere of local playwright Janet Preus's show “Water from Snow.” It is an original musical play co-written by her and Robert Elhai and Fred Steele of the Steele family. As it is set in a small town on a lake in northern Minnesota, Bemidji seems perfect for its premiere!Important and universal themes drive this story: healing wounds caused by abuse; overcoming racism against Indigenous people; bridging generational differences; valuing elderly community members; and championing women supporting each other. They hope to generate meaningful conversations among audience members, performers and the creative team.The roughhewn nature of the Rail River School venue in Bemidji lends additional character and dimension to the play. The music is diverse from a mix of music from country and blues, to pop, ballads and R&B, even a song from old farts at the setting of the café — there are 22 original songs! The lively local cast has chosen their roles carefully, with a range of characters drawn from the writer's lifetime in rural Minnesota.— Kevin CeaseMacMillan's transformative choral workStephen Kingsbury is a choral director and educator who wrote his doctoral dissertation on Scottish composer Sir James MacMillan. He recommends two upcoming events celebrating MacMillan's music.MacMillan will conduct seven Twin Cities choirs in a free performance called “Voices for a Cathedral” at the Cathedral of St. Paul, Friday, April 4 from 7:30 to 9:30 p.m. VocalEssence will also perform an all-MacMillan program Sunday, April 6 at 4 p.m. at the Ordway in St. Paul, with both MacMillan and Philip Brunelle conducting. The program features “Seven Last Words from the Cross” and “The Sun Danced,” with soprano Goitsemang Lehobye joining the U of M University Singers and orchestra.Kingsbury describes his first encounter with MacMillan's work over 25 years ago:Stephen says: One day, in deep frustration, I was going through my collection of recordings looking for inspiration. I found a disc that I had no recollection of purchasing. It was of MacMillan's “Seven Last Words from the Cross.” I popped in the player and spent the next hour laying on the floor of my apartment, wrapped in the music, staring up at the ceiling, silently weeping. I had never encountered anything like it. In that hour, I was transformed by a new awareness of what the choral art could be: how it touch the soul in deep and transformative ways. I knew then that MacMillan had to be the topic of my study. Since then, MacMillan's music has served as one of the centers of my artistic and scholarly life. I've since written a number of additional articles about his music and had the pleasure of being able to conduct many of MacMillan's compositions. His music strikes a balance between passion and craft; it is both deeply emotional and thoughtful.— Stephen KingsburyZappa's legacy lives on in Mankato tributePaula Marti of New Ulm is a classically trained oboist and manager of Morgan Creek Vineyards & Winery, where she curates summer concerts. She also has a lifelong love of Frank Zappa's music, and she recommends a tribute concert this weekend.Joe Tougas and his ensemble Joe's Garage return to perform “Joe's Garage, Act Two,” a Frank Zappa tribute concert. The event is Saturday, April 6 at 7 p.m. at the Morson-Ario-Strand VFW in Mankato.Paul says: What's unique about this particular group is because there's so many professional musicians in it, they really have been able to achieve the sound that Frank Zappa attempts to create in his works. He has this diverse sensibility about sound and rhythm. It's integrated in a marvelous way that has this orchestral effect. It's just amazing as a classical musician myself, enjoying what comes out of these interesting themes that Zappa puts together, which are unique, they're cultural expressions of our time and our era. And he does that in a way that's very, very respectful to the instrumentation that has to go on that represents, you know, the harmonies, the diversities and the the challenges of the message of the music.— Paul Marti

Frank MeyerTake a walk with me down Fascination Street as I get to know Frank Meyer. Frank has been a staple in the film, television & punk scene for the past 30+ years. In this episode, we chat about his growing up with some of the most supportive parents of their era. Frank's folks not only supported his hopes and dreams, but they also even took him to see some of the most iconic acts of all time. Frank recounts stories of seeing The Blues Brothers live, and even Eddie Murphy's Raw & Delirious shows. Then we get into some of Frank's work in television & film. Having spent several years with the G4 channel, Frank was an early podcaster with a very cool insight into the format. We bounce all over the place in this one. Frank shares stories of his antics with some of music's greats; like Cherie Currie, David Lee Roth, Dave Mustane, Van Halen, and Eddie Spaghetti. I get him to explain why he wrote books about Phil Spector, The Ramones, and even his series From Dude To Dad. Frank not only has his own bands: Frank Meyer & The Streetwalkin' Cheetahs here in the US, but also Trading Aces in Europe! Plus, he plays with FEAR, Cherie Currie, Range War, and Handsome Dick Manitoba's The Dictators. Fun stories involving The Stooges, and being a good hang. Frank even made documentaries about his buddy Hell Razah, and another one about Hip Hop 101. Check those out everywhere documentaries are available! Finally, we discuss Frank's debut solo album Living Between The Lines. I wouldn't be me if I didn't ask to play my favorite track from the album (Blue Radio)! Wu Tang Clan, Drew Barrymore, Eddie Spaghetti, and Keel stories abound!!

Le 4 décembre 1971, lors du Festival de Jazz de Montreux, Frank Zappa et les Mothers of Invention donnent un concert au Casino de Montreux, bondé de 2800 spectateurs. En plein show, un fan tire avec un pistolet lance-fusée, mettant feu au plafond en rotin. Les issues de secours étant verrouillées, une catastrophe semble inévitable. Gardant son sang-froid, Zappa organise l'évacuation en guidant la foule vers la scène et les coulisses, évitant ainsi un drame. Le Casino est entièrement détruit par les flammes, inspirant plus tard Deep Purple pour leur mythique "Smoke on the Water". Quelques jours plus tard, Zappa est agressé à Londres, souffrant de graves blessures. En 1990, il devient un symbole de liberté en Tchécoslovaquie, recevant un titre honorifique de Vaclav Havel, avant que les États-Unis ne forcent son retrait. Frank Zappa décède le 4 décembre 1993, 22 ans jour pour jour après l'incendie, laissant derrière lui une œuvre colossale et intemporelle. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Moon Unit Zappa is reminiscing with Drew on hanging out at her house when they were children and is telling her about her memoir, Earth to Moon. 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

Hello, music lovers!  Welcome to Why Music Matters, a podcast where we examine the power and influence that music can wield in our lives.  I'm your host, Jeff Miers. Today, I'm beyond thrilled to welcome a longtime musical hero of mine, the guitarist, bandleader and songwriter Dweezil Zappa. Growing up with the late composer and guitarist supreme Frank Zappa as a father meant that Dweezil was exposed to some of the bravest and most adventurous music of the 20th century on a daily basis, from a very young age.  At 12, a random phone call to the Zappa home led to Dweezil meeting his hero, Edward Van Halen, and to the formation of a friendship that would last until the effortlessly brilliant guitarist, keyboardist and composer passed away, in October of 2020. During that time, Edward produced Dweezil's earliest forays into the professional music world, and remained a friend and mentor.  Dweezil is currently in the midst of his RoxPostrophy tour, which finds him celebrating a seminal era in his late father's canon of work - the early 1970s, when Frank Zappa release both the Apostrophe and Roxy & Elsewhere albums. The tour arrives in Buffalo for a performance at Kleinhans Music Hall, on Thursday, April 29. (Tickets and VIP packages are available now, through DweezilZappa.com.)  During our conversation, I asked Dweezil about this particularly rich period in his father's life and work; about just why Van Halen continues to matter to him and so many of us; about his brilliant, authoritative Van Halen podcast, Runnin' With the Dweezil; and about the difficulties of releasing and touring  behind ambitious, complex music in the streaming-centric world of the early 21st century.  Welcome to Why Music Matters, Dweezil Zappa…  

"GRIEVING IN THE DOLLS HOUSE"David Johansen passed away peacefully at home on February 28, holding the hands of his wife Mara Hennessey and daughter Leah, in the sunlight surrounded by music and flowers. After a decade of profoundly compromised health he died at the age of 75. David and his family were deeply moved by the outpouring of love and support they've experienced recently as the result of having gone public with their challenges.  He was thankful that he had a chance to be in touch with so many friends and family before he passed. He knew he was ecstatically loved."My mother and I would like to thank everyone for the fathomless love and support you've all shown us since we went public with David's diagnosis.We were able to make the last few weeks of David's life with us as serene and anxiety free as possible. As well as alleviating some of our more pressing material concerns, this campaign did make David feel profoundly connected. He really did feel the love from everyone.For the time being we will leave the fund open to contributions, to continue to pay off the debts accrued during David's long illness.We will share details about memorials and tributes soon. There will be several events celebrating David's life and artistry, details to follow.Thank you so much for the …LUVLove,Leah and Mara"THE GTO'S -"PERMANENT DAMAGE"- THEIR LONE VINYL FOOTPRINT"HARDLY A CHEAP TRICK"These seven young women left a permanent mark upon my perceptions of the feminine equation and artistic desires during what was known as the 60's Summer of Love. So much to ponder about these girls who just wanted to have fun.They left a legacy which when viewed through the lens of  artistic achievement, made them the first female Punk Rockettes.When the testimony is placed under the microscope of human triumph, destiny betrayed them. They were the creation of a time (The 1960's) and a place (Laurel Canyon) where  history tells us that the possibilities of inclusion could make a groupie as appreciated as Joni Mitchell.Frank Zappa knew better.Frank understood the nature of Permanent Damage. The most famous and successful of the GTOs is Miss Pamela, currently Pamela Des Barres, author of the groupie-memoir I'm With The Band. Des Barres's new book, Let's Spend the Night Together, a collection of interviews with fellow rock groupies, was released on July 1, 2007. Miss Mercy's 'biography' was expanded at length within the chapter entitled, "Miss Mercy's Blues". Also within the book, Des Barres notes that Miss Cynderella died in 2007 under mysterious circumstances. Miss Christine died on November 5th, 1972, of an overdose in a hotel room, after spending close to a year in a full body cast to correct her crooked spine. Miss Lucy died of an AIDS-related disease in the early 1990s. During her time as a GTO, Sandra became pregnant by Zappa's resident artist, Calvin Schenkel, and had a daughter named Raven. Miss Sandra later moved back to San Pedro and eventually Italy with her new husband and three children. She died of cancer on April 23, 1991. Miss Sparky is still alive, but not much has been divulged of her post-GTO's endeavours.In Circular Circulation, They Circle Continuously.- Rich Buckland

This week on Matt Likes Beer, Matt dives into Citra Anchovy, a fresh and hazy IPA from Orlando's own Sideward Brewing. And no, despite the name, there are no anchovies in this beer! The unusual name comes from the experimental Anchovy hop, which Matt explores alongside other uniquely named hops in the brewing world. A long-time fan of Sideward, Matt shares how this local favorite has become a staple in his beer-drinking adventures—from Oktoberfest celebrations to weekly brewery visits (often with the dogs in tow). With five pints of Citra Anchovy under his belt before this recording, he breaks down why this might be one of the best Sideward brews yet. In this episode: A BJCP-style evaluation where Citra Anchovy earns a 44 out of 50, making it the highest-rated beer so far on the show. A deep dive into the hop's bold citrus and soft malt character, plus speculation on whether wheat or oats give it its signature mouthfeel. A detour into the weird world of hop names, from Sasquatch to Zappa and beyond. Since the beer is so new, there aren't any hilarious one-star reviews yet—but that doesn't stop Matt from making this an episode worth pouring a pint for. Listen now on Neozaz.com, BigMonsterBrewing.com, or your favorite podcast platform, and learn why Citra Anchovy is a must-try hazy IPA!

When you only have two to three days to prepare for an episode due to a guest reschedule, who do you turn to? Of course our Patreon Revisitors bail us out once again – this time it's repeat revisitor Scotty Kummer from Ten Junk Miles and I've Got That On Vinyl to talk about “Women and Children First” from the legendary Van Halen.Plenty of other discussion on this one including the Minnesota Twins, artists and albums we've fallen in love thanks to podcasting about music, high heels, convoy and truck driver life, Zappa, why we don't discuss jazz records (and it's not because we don't like jazz), getting recognized as podcast hosts, Nicolette Larson, and deciphering between lead singers and rock stars. Enjoy.Check out Ten Junk Miles at:  https://www.tenjunkmiles.com/Check out I've Got That On Vinyl at: https://igtov.com/Check out Van Halen at: http://www.van-halen.com/Check out other episodes at RecordsRevisitedPodcast.com or one all your favorite podcast providers like Apple Podcasts, Castbox, iHeartMedia, and Spotify. Additional content is found at: Facebook.com/recordsrevisitedpodcast or twitter @podcastrecords or IG at instagram.com/recordsrevisitedpodcast/ or join our Patreon at patreon.com/RecordsRevisitedPodcast

Dreams with Gilliam, The Rolling Stones Through the Years,  The Silent Voice, The Magic of Tarkovsky, Zappa, A Trio of Very Different Noir On this week's episode Mr. Chavez & I return to reminiscing on 500 shows. We begin with the beauty and magic of Terry Gilliam with The Adventures of Baron Munchausen, through a look at Rock 'N Roll and The Rolling Stones, A beginning series of movies that defined their decades, the beauty of Soviet Cinema with Andrei Tarkovsky, and The Dark Brilliance of Film Noir. It's a fun look back; We hope you'll take the ride with us. Many Thanks. We can always be reached at gondoramos@yahoo.com.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Alright, I gotta be honest—I showed up for this episode of The Rotten Horror Picture Show thinking we were gonna be talking about The Mothers. You know, Frank Zappa's band? The weird, experimental, genre-bending legends? I figured Clay and Amanda were finally gonna dig into some real avant-garde madness. Maybe talk about Freak Out! or We're Only In It for the Money. But no. No Zappa. No Mothers. Instead, we're talking about The Others.Don't get me wrong, The Others is great. It's a modern Gothic horror masterpiece, full of all the hallmarks of a great haunted house movie, like eerie atmosphere, whispering children, and Nicole Kidman wandering around a dark old house looking extremely stressed. It's got a chilling slow burn, a fantastic twist, and some of the best ghostly suspense of the 2000s. Clay and Amanda are gonna get into all of it—the story, the scares, the themes of grief and isolation—but man… I was really hoping we were here to discuss a 17-minute live version of “Montana.”I mean, I'll stick around, obviously. The Others deserves attention, and honestly, it does have a kind of haunting, surreal quality—sort of like a Zappa album, if you think about it. But I just need to say, on the record: next time, maybe we could talk about The Mothers? Just a little? Maybe an episode on 200 Motels? No? Okay, fine. The Others it is. It's probably a more rewarding experience than listening to Frank Zappa, anyway.So, if you're ready for ghostly suspense, chilling reveals, and a deep dive into one of the most effective horror films of the 2000s, stick with Clay and Amanda. Meanwhile, I'll be in the corner, listening to Apostrophe (‘) and wondering what could have been.patreon.com/thepenskyfile

(S4-EP 12) Frank Zappa and The Mothers of Invention-Absolutely Free (Verve) (Special Guest Steve DeLuca) Released May 26, 1967  recorded November 15–18, 1966 March 6, 1967[Absolutely Free, the second album by The Mothers of Invention. Expanding on the experimental nature of their debut, Freak Out!, the album blends rock, jazz, and classical music with biting social and political satire. Structured as two conceptual suites—"Absolutely Free" and "The M.O.I. American Pageant"—the album critiques American culture, consumerism, and political corruption. Tracks like "Plastic People" and "Brown Shoes Don't Make It" mock conformity and hypocrisy, while the ambitious composition of "Brown Shoes" showcases Zappa's mastery of genre fusion. Recorded in just four days with a limited budget, Absolutely Free incorporates influences from Stravinsky, Holst, and Varèse, foreshadowing Zappa's later experimental works. Though controversial and facing censorship, the album reached #41 on the Billboard 200 and has since become a cult classic. It remains a landmark in avant-garde rock, cementing Zappa's reputation as a fearless musical innovator. Joining Jay on this extended episode is returning guest music historian and drummer Steve DeLuca. Signature Tracks "Plastic People,"  "Call Any Vegetables"  "Brown Shoes Don't Make It" Playlist:  You Tube Playlist   Spotify Playlist Full Albums YouTube , Spotify Playlist

Andy Aledort is widely known for his transcriptions, instructional columns and DVDs and has also toured throughout the last two decades with Dickey Betts and the Jimi Hendrix Tribute.Andy's latest album is In A Dream, featuring five originals and covers of Jimi Hendrix's “Pali Gap,” Cream's “Lawdy Mama” and Albert King's ‘Can't You See What You're Doing To Me.” The album has garnered incredible reviews from today's most respected players: Warren Haynes says,Andy's playing his ass off as always and the guitar sounds are great. I love the harmonized slide guitars on ‘Hymn,' and I'm digging the jazzier tunes too. And on ‘Moonwaves,' he's mixing Hendrix and Zappa vibes. I dig it!” Joe Satriani state, “Nice playing all over this album!  ‘Pali Gap' sounds killer and ‘Moonwaves' is awesome! And Steve Vai adds, “‘In A Dream' reveals Andy's authentic love of blues and it shines through in the atmosphere he created. He is burning an old torch in a new way and it works. It's great to have a record like this that captures that authenticity.” In A Dream is available from Long Song Records.https://andyaledort.com/https://friendsofthebrothersband.com/

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Thought leadership - when done right - can be a fantastic way to build your credibility and bring in new business. But how exactly do you roll out thought leadership for yourself, your team, and your organization? In this Quick Hit, we welcomed on Joe Zappa, Founder and CEO of Sharp Pen Media. Check out the full episode here

Most people will know Alex Winter from his acting career given his legacy starring in cult classic movies, but Alex is also decorated and highly respected documentary maker. His work includes The Panama Papers, Zappa, Downloaded, and the two in particular that we shall be talking about in this episode, Deep Web and The Youtube Effect. At the time of recording of this conversation with Alex a large part of the dialogue was centred around his documentary Deep Web and the story of The Silk Road, an online marketplace which pioneered in bitcoin and the deep web, patrons were able to purchase nearly anything they desired. The creator of Silk Road, Ross Ulbricht, was given a disproportionately long prison sentence consisting of double life plus 40 years. At time of releasing this podcast episode, and over a decade of time served, Ross has been released from prison with a presidential pardon. Alex Winter is able to give a unique insight into the Ross' case and the Silk Road journey, as well as the Ulbricht family to whom Alex got to know well over the years. Ross' mother, Lynn, has been a previous guest on the Stop and Search podcast. In this episode we will discuss Ross Ulbricht and his headline-making case, but we also speak about a great deal more, such as the delivery of information in this new era of global communications, what this means for the human race, challenges we face with online platforms, and yes, the 'drug war' and the many consequences of punitive policies. Hosted on Acast. See acast.com/privacy for more information.

Across Frank Zappa's monumental body of work, he injected rock-based music with compositional techniques straight out of the modern classical handbook, as well as groundbreaking studio trickery and a teenager's wit. To match his untamable creativity, he famously demanded an unmatched level of musical dedication from his players, and his own guitar playing balanced that discipline with off-the-rails experimentation.When considering Zappa's legacy as a guitarist, we can't separate it from his work as a composer, songwriter, producer, and all-around big personality. As a listener, you can love Zappa's chamber music and simultaneously not be able to handle his lyrics; you can adore his guitar playing but prefer he keep his opinions to himself. Our list of favorite Zappa guitar-centric recordings covers a lot of musical ground but keeps it all about his playing.Is Frank Zappa to blame for the sound of jam bands? When was Zappa's best decade? And we're looking at the connection between Zappa and Phish (who one of us calls “Zappa lite”). In a bonus segment, we're playing “Did They Get It Right?” and examining the Grammys' former category for Best Rock Instrumental Performance.This episode is brought to you by the Dunlop Cry Baby Wah. Visit http://jimdunlop.com for more info. Follow Nick: https://www.instagram.com/nickmillevoiFollow Jason: https://www.instagram.com/jasonshadrickGet at us: 100guitarists@premierguitar.comCall/Text: 319-423-9734Podcast powered by Sweetwater. Get your podcast set up here! - https://sweetwater.sjv.io/75rE0dSubscribe to the podcast:Spotify: https://open.spotify.com/show/0aXdYIDOmS8KtZaZGNazVb?si=c63d98737a6146afApple: https://podcasts.apple.com/us/podcast/100-guitarists/id1746527331

Before the Velvet Underground, before Zappa, The Fugs were the first underground band, sort of, or a series of bands, but it was really a subversive art project, obnoxiously irreverent, a direct challenge to the establishment, investigated by the FBI. Learn more about your ad choices. Visit megaphone.fm/adchoices

Its a beer named after one of the more famous mountain hikes in San Diego, but do you pronounce it Cow-Ls mountain or Koh-ls mountain? Either way this is another must try IPA from San Diego Brewing Company. Brewer Chris utilizes his own CTZ blend of Citra, Talus and Zappa hops to craft a tropical yet very dank drinkable IPA. Also not to be out done by the beer, Tyson packs the holy trinity of pork on to one pizza with the Brew Co Combo!

"The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free and good men die like dogs. There's also a negative side." - Hunter S. Thompson As we close out one of the most chaotic years of my life, I'm diving deep into the genius of Frank Zappa—musician, anarchist, philosopher, and creative disruptor. This episode is your all-access pass to Zappa's approach to balancing art, individuality, and entrepreneurship in a world dominated by capitalism and conformity. Whether you're an artist, entrepreneur, or just a fan of weird and wonderful ideas, this one's for you.

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Subterranea Rarities cierra el año 2024 con un programa imperdible. Carles Pinós convierte en tradición el mes Zappa para alegría de los zappianos, Carlos Romeo nos deleita con más detalles y música del maestro Ayers, y David Pintos hace entrega de su último capítulo sobre la vida, obra y milagros de la banda liderada por Gary Chandler. Regálate una navidad musical con Subterranea, te lo mereces. Edición: David Pintos. www.subterranea.eu www.davidpintos.com Escucha este episodio completo y accede a todo el contenido exclusivo de Subterranea Podcast. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/17710

Whether or not humor belongs in music, Frank Zappa doesn't. It is an objective fact that he didn't even want to be making this trash, so why are you listening to it? Oh, you're in on the joke. Cool, cool. That must be fun to say out loud to yourself while listening to Zappa albums since no other living person has ever wanted to participate in that activity with you. Who needs friends when you have some asshole with a mustache, a ton of recording gear and absolutely no respect for you as a listener, right? Zappa's autobiography should have been titled Being An Asshole To Make Music To Be An Asshole To.

AKI NAKAMURA began his professional journey as a quantum chemist, having graduated from the Department of Applied Chemistry at Yokohama National University. However, it wasn't long until he turned to the shakuhachi for his future career. Aki studied under numerous shakuhachi masters, including Katsuya Yokohama. He then went on to study composition and jazz theory at Berklee College of Music, USA, graduating summa cum laude. He finished his tertiary studies at the New England Conservatory of Music as a scholarship student in the Master of Music Composition and the Third Stream program. His compositions are diverse and include orchestral music, choral music, chamber music, big band music, and traditional Japanese music. He has established a performance method that makes full use of overtones, multiphonics, the traditional Japanese breathing technique of ‘Missoku', and his own originally developed method of ```, which involves exhaling and inhaling at the same time. While staying true to the traditions of the Komusō monks, collecting, analysing, and performing their repertoire, he is also active as a performer of rock, jazz and classical music. He has performed in more than 150 cities in over 40 countries, at events and venues such as the Montreux Jazz Festival, Queen Elizabeth Hall (London), the Lincoln Center (New York), Blue Note (New York), the Kennedy Center (Washington DC), the Berlin Philharmonic Hall, the Polish National Opera, under the auspices of the Ministry of Foreign Affairs and the Japan Foundation. His numerous performances have been shared worldwide through over 40 broadcasting platforms. Book: “Breathing with Missoku:The Undiscvered Zen Secret ofJapanese Culture”  

Here is a segment of Mondo Jazz located somewhere between French and Frank... French as in the jazz scene Airelle Besson, Oan Kim and Yonathan Avishai hail from, and Frank as in Frank Zappa. The playlist features a tribute to Zappa's genius by Valentina Ciardelli, Anais Drago, Riccardo Angelo Strano, as well as two of the countless gems unheated by the "50th Anniversary Super Deluxe Edition" series of luxury re-issues of his music. The playlist also features Sebastian Sternal and Jonas Burgwinkel. Detailed playlist at https://spinitron.com/RFB/pl/19789477/Mondo-Jazz (from "J.T." onwards). Happy listening!

Music News: Pink Floyd and Joni MitchellIn this episode of the Deadhead Cannabis Show, Larry Mishkin reflects on the intersection of music and cannabis in the wake of the recent elections. He delves into the Grateful Dead's legacy, highlighting a notable performance from 1973, and explores the lyrical depth of 'To Lay Me Down.' The conversation also touches on music news, including Pink Floyd's 'Dark Side of the Moon' and Joni Mitchell's recent birthday. The episode concludes with a discussion on recent research indicating that cannabis may serve as a substitute for more dangerous substances. This conversation explores the complex relationship between cannabis use and substance consumption among young adults, the implications of Florida's failed marijuana legalization initiative, and the potential of cannabis as a harm reduction tool for opioid use. It also highlights popular cannabis strains and their effects, alongside a cultural reflection on the Grateful Dead's music. Chapters00:00 Post-Election Reflections: Music and Cannabis08:29 The Grateful Dead's Musical Legacy14:48 Exploring the Lyrics: To Lay Me Down21:59 Music News: Pink Floyd and Joni Mitchell37:06 Weather Report Suite: A Musical Journey43:10 Second Set Highlights: Mississippi Half-Step and Beyond49:36 Marijuana Research: Substitution Effects51:24 Cannabis Use Among Young Adults56:13 Florida's Marijuana Legalization Initiative01:05:01 Cannabis as a Tool for Opioid Harm Reduction01:11:10 Strains of the Week and Cannabis Culture Larry's Notes:Grateful DeadNovember 11, 1973 (51 years ago)Winterland ArenaSan Francisco, CAGrateful Dead Live at Winterland Arena on 1973-11-11 : Free Borrow & Streaming : Internet Archive Happy Veteran's Day  A very famous show from a very famous year.  Many feel 1973 was the peak of the band's post psychedelic era.  Certainly right up there with 1977 as top years for the band, even by November they were still in full stride during a three night run at Winterland, this being the third and final night of the run.  In 2008 the Dead released the box set:  “Winterland 1973: The complete recordings” featuring shows from Nov. 9, 10 and 11, 1973.  This was the Dead's second “complete recordings” release featuring all of the nights of a single run. The first was “Fillmore West, 1969, the Complete Recordings” from Feb. 27, 28 and March 1 and 2 (IMHO the best collection of live music ever released by the band).  The band later released a follow up, Winterland 1977: The Complete Recordings a three night run June 7, 8 and 9, 1977 that is also an outstanding box set. Today's show has a 16 song first set, a six song second set and a three song encore, a true rarity for a Dead show of any era (other than NYE shows). The second set consists of ½ Step, Big River, Dark Star with MLBJ, Eyes of the World, China Doll and Sugar Magnolia and is as well played as any set ever played by the band.  They were on fire for these three days.  A great collection of music and killer three night run for those lucky enough to have snagged a ticket for any or all of the nights. Patrick Carr wrote in the NY Times that: “The Dead had learned how to conceive and perform a music which often induced something closely akin to the psychedelic experience; they were and are experts in the art and science of showing people another world, or a temporary altering (raising) of world consciousness.  It sounds pseudomystical pretentious perhaps, but the fact is that it happens and it is intentional.”  INTRO:                                 Promised Land                (show opener into Bertha/Greatest Story/Sugaree/Black Throated Wind)                                                Track #1                                                0 – 2:10 "Promised Land" is a song lyric written by Chuck Berry to the melody of "Wabash Cannonball", an American folk song. The song was first recorded in this version by Berry in 1964 for his album St. Louis to Liverpool. Released in December 1964, it was Berry's fourth single issued following his prison term for a Mann Act conviction. The record peaked at #41 in the Billboard charts on January 16, 1965. Berry wrote the song while in prison, and borrowed an atlas from the prison library to plot the itinerary. In the lyrics, the singer (who refers to himself as "the poor boy") tells of his journey from Norfolk, Virginia, to the "Promised Land", Los Angeles, California, mentioning various cities in Southern states that he passes through on his journey. Describing himself as a "poor boy," the protagonist boards a Greyhound bus in Norfolk, Virginia that passes Raleigh, N.C., stops in Charlotte, North Carolina, and bypasses Rock Hill, South Carolina. The bus rolls out of Atlanta but breaks down, leaving him stranded in downtown Birmingham, Alabama. He then takes a train "across Mississippi clean" to New Orleans. From there, he goes to Houston, where "the people there who care a bit about me" buy him a silk suit, luggage and a plane ticket to Los Angeles. Upon landing in Los Angeles, he calls Norfolk, Virginia ("Tidewater four, ten-oh-nine") to tell the folks back home he made it to the "promised land." The lyric: "Swing low, sweet chariot, come down easy/Taxi to the terminal zone" refers to the gospel lyric: "Swing low, sweet Chariot, coming for to carry me Home" since both refer to a common destination, "The Promised Land," which in this case is California, reportedly a heaven on earth. Billboard called the song a "true blue Berry rocker with plenty of get up and go," adding that "rinky piano and wailing Berry electric guitar fills all in neatly."[2]Cash Box described it as "a 'pull-out-all-the-stops' rocker that Chuck pounds out solid sales authority" and "a real mover that should head out for hit territory in no time flat."[3] In 2021, it was listed at No. 342 on Rolling Stone's "Top 500 Greatest Songs of All Time". Apparently played by the Warlocks and the Grateful Dead in their earliest days, Bob Weir started playing this with the Dead in 1971, and it remained a regular right through to the band's last show ever in 1995.  Among those deeply touched by Chuck's genius were Jerry Garcia and the Grateful Dead. They often paid homage to Chuck by weaving his songs into their performances, breathing new life into his timeless melodies. "Promised Land," with its relentless drive, became an anthem of journey and aspiration. Their electrifying renditions of "Johnny B. Goode" were not mere covers but jubilant celebrations of a narrative that resonated with the dreamer in all of us. The Grateful Dead's performances of "Around and Around" echoed Chuck's mastery of capturing life's cyclical rhythms—a dance of beginnings and endings, joy and sorrow. And when they took on "Run Rudolph Run," they infused the festive classic with their own psychedelic flair, bridging the gap between tradition and innovation. A moment etched in musical history was when Chuck Berry shared the stage with the Grateful Dead during their induction into the Rock and Roll Hall of Fame in 1994. The air was thick with reverence and electricity—a meeting of titans where the past, present, and future of rock converged in harmonious resonance. Again, in May 1995, Chuck opened for the Grateful Dead in Portland, Oregon. It was a night where legends collided, and the music swirled like a tempest, leaving a lasting impression on all who were fortunate enough to witness it. This version really rocks out.  I especially love Keith's piano which is featured prominently in this clip. Played:  430 timesFirst:  May 28, 1971 at Winterland Arena, San Francisco, CA, USALast:  July 9, 1995 at Soldier Field, Chicago, IL, USA  SHOW No. 1:                    To Lay Me Down  (out of Black Throated Wind/into El Paso/Ramble On Rose/Me and Bobby McGee                                                Track #6                                                2:21 – 4:20 David Dodd:  “To Lay Me Down” is one of the magical trio of lyrics composed in a single afternoon in 1970 in London, “over a half-bottle of retsina,” according to Robert Hunter. The other two were “Ripple” and “Brokedown Palace.” Well, first—wouldn't we all like to have a day like that! And, second—what unites these three lyrics, aside from the fact that they were all written on the same day? Hunter wrote, in his foreword to The Complete Annotated Grateful Dead Lyrics:”And I wrote reams of bad songs, bitching about everything under the sun, which I kept to myself: Cast not thy swines before pearls. And once in a while something would sort of pop out of nowhere. The sunny London afternoon I wrote ‘Brokedown Palace,' ‘To Lay Me Down,' and ‘Ripple,' all keepers, was in no way typical, but it remains in my mind as the personal quintessence of the union between writer and Muse, a promising past and bright future prospects melding into one great glowing apocatastasis.” “‘To Lay me Down' was written a while before the others [on the Garcia album], on the same day as the lyrics to ‘Brokedown Palace' and ‘Ripple'—the second day of my first visit to England. I found myself left alone in Alan Trists's flat on Devonshire Terrace in West Kensington, with a supply of very nice thick linen paper, sun shining brightly through the window, a bottle of Greek Retsina wine at my elbow. The songs flowed like molten gold onto the page and stand as written. The images for ‘To Lay Me Down' were inspired at Hampstead Heath (the original title to the song) the day before—lying on the grass and clover on a day of swallowtailed clouds, across from Jack Straw's Castle [a pub, now closed and converted into flats--dd], reunited with the girlfriend of my youth, after a long separation.” Garcia's setting for the words is, like his music for those other two songs, perfect. The three-quarter time (notated as having a nine-eight feel), coupled with the gospel style of the melody and chords, makes for a dreamy, beauty-soaked song. I heard it on the radio today (yes, on the radio, yes, today—and no, not on a Grateful Dead Hour, but just in the course of regular programming), and it struck me that it was a gorgeous vehicle for Garcia's voice. By which I mean: for that strongly emotive, sweet but not sappy, rough but not unschooled instrument that was Garcia's alone. I have started to think that my usual recitation of where a song was first played, where it was last played, and where it was recorded by the band borders on pointless. All that info is readily available. What's interesting about the performance history of “To Lay Me Down” is that it was dropped from the rotation for more than 200 shows three times, and that its final performance, in 1992, came 125 shows after the penultimate one. The reappearance of the song, in the 1980 acoustic shows, came nearly six years after the previous performances in 1974. “Ripple” had a similar pattern, reappearing in those 1980 acoustic sets after 550 performances, or nearly ten years. Of the magical trio from that day of molten gold in West Kensington, “Brokedown Palace” had the most solid place in the Dead's performance rotation, with only one huge gap in its appearances—165 shows between 1977 and 1979. So, in terms of story, what can be discerned? The short version, for me: even if it's just for a day, even if it's just once more, even if it's just one last time—it's worth it. It's golden. It's home. This version is really great to listen to.  Jerry's voice is still so young and strong.  And the group singing works really well.  Jerry's also kills it with his lead guitar jamming. Released on “Garcia” in 1972 Played:  64 timesFirst:  July 30, 1970 at The Matrix, San Francisco, CA, USALast: June 28, 1992 at Deer Creek Music Center, Noblesville, IN, USA MUSIC NEWS:                                                           Music Intro:                       Brain Damage                                                                                    Pink Floyd                                                                                    Pink Floyd - Brain Damage (2023 Remaster)                                                                                    0:00 – 1:47             "Brain Damage" is the ninth track[nb 1] from English rock band Pink Floyd's 1973 album The Dark Side of the Moon.[2][3] It was sung on record by Roger Waters (with harmonies by David Gilmour), who would continue to sing it on his solo tours. Gilmour sang the lead vocal when Pink Floyd performed it live on their 1994 tour (as can be heard on Pulse). The band originally called this track "Lunatic" during live performances and recording sessions. "Brain Damage" was released as a digital single on 19 January 2023 to promote The Dark Side of the Moon 50th Anniversary box set.[4]             The uncredited manic laughter is that of Pink Floyd's then-road manager, Peter Watts.             The Dark Side of the Moon is the eighth studio album by the English rock band Pink Floyd, released on 1 March 1973, by Harvest Records in the UK and Capitol Records in the US. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of the former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.             The Dark Side of the Moon is among the most critically acclaimed albums and often features in professional listings of the greatest of all time. It brought Pink Floyd international fame, wealth and plaudits to all four band members. A blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14x platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 990 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.[3] In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999. David Gilmour Addresses Synchronicity Theory Between ‘The Dark Side of the Moon' and ‘Wizard of Oz'On Thursday, November 7, 2024, Pink Floyd's David Gilmour appeared on The Tonight Show Starring Jimmy Fallon amid his extensive run at New York's Madison Square Garden, where he is supporting his latest solo release, Luck and Strange. During the music industry legend's stop by the late-night talk show, he spoke with the program's host, who questioned the theory of synchronicity between TheDark Side of the Moon and The Wizard of Oz, commonly referred to as the Dark Side of the Rainbow.“You said that you think it's your best work since Dark Side of the Moon,” Fallon questioned at the top of the segment, comparing Gilmour's comments regarding his latest release, and the Pink Floyd classic. “When we finished Dark Side, there was a lot of crossfades and stuff between all the tracks. They had all to be done separately and then they all have to be edited in the old days before Pro Tools. When we finally finished, we sat down in the control room at Abbey Road and listened to it all the way through. And, wow. I–I guess all of us–have the feeling that it was something quite amazing–that we got it, and at the same point on this album, I had a very similar feeling, which is why I said that.” Fallon stewed on Luck and Strange during a series of follow-up questions that assisted in painting a portrait of familial involvement during the making of Gilmour's 2024 release–harnessing the conversation to the artist's preferred homebred approach before they segued into the realm of the Emerald City. Fallon landed on the topic of Oz during a bit aimed at busting rumors that have populated throughout the musician's 60-year tenure in the spotlight.“The Pink Floyd album, Dark Side of the Moon, was written to synchronize with the movie Wizard of Oz,” Fallon suggested. Prompting Gilmour's humor-tinged response, “Well, of course it was.” Fallon threw his hands up in response, acting on the comedic angle, before the musician clarified, “No, no. We listened to it, Polly and I, years ago–” Fallon stopped the artist to ask, “There's no planning that out?” Gilmour continued, “No. No, I mean, I only heard about it years later. Somebody said you put the needle on–vinyl that is– and on the third–you know you got the film running somehow–and on the third roar of the MGM lion, you put the needle on for the beginning of Dark Side, and there's these strange synchronicities that happen.” Fallon asked if Gilmour had ever tested the theory, to which he exclaimed, “Yeah!” He went on to admit, “And there are these strange coincidences–I'll call them coincidences.”  Joni Mitchell turns 81 - Joni Mitchell was born on Nov. 7th in 1943, making her 81 this past Thursday. Mitchell began her career in small nightclubs in Saskatoon, Saskatchewan, Canada, and grew to become one of the most influential singer-songwriters in modern music history. Rising to fame during the 1960s, Mitchell became a key narrator in the folk music movement, alongside others like Bob Dylan. Over the decades, she has released 19 studio albums, including the seminal “Blue,” which was rated the third best album ever made in Rolling Stone's 2020 list of the "500 Greatest Albums of All Time.” In 2023, Joni Mitchell at Newport was released, a live album of her 2022 performance at the Newport Folk Festival.  More recently she was the featured performer at the Joni Jam at the Gorge in George, WA in June, 2023 3.    Dan “Lebo” Lebowitz to Celebrate 50th Birthday at Sweetwater Music Hall with Members of ALO, Tea Leaf Green and More Sweetwater Music Hall (in Mill Valley, CA) has announced details pertaining to Dan “Lebo” Lebowitz's 50th Birthday Bash. The event is slated to take place on Saturday, November 23, 2024, and functions as a celebratory occasion to honor the jam stalwart and beloved member of the Bay Area music scene's five decade ride.  The six-string virtuoso, known for his work with Animal Liberation Orchestra (ALO), Phil Lesh & Friends, and his own self-titled Friends project, has tapped an all-star group of regional talent to assist during the live show. Appearing on the birthday lineup, in addition to the bandleader are Vicki Randle (percussion, vocals; The Tonight Show Band), Steve Adams (bass; ALO), Trevor Garrod (keys; Tea Leaf Green) and Scott Rager (drums; Tea Leaf Green).  “Possessing a signature tone, the vehicle for his fluid, buttery sound is a flat top acoustic guitar that he has personally sliced and diced into an electric flat top, with a vintage style humbucker pickup. Inherently committed to an improvisational approach, Lebo embodies the realm of melodic and soulful sounds,” the press release includes, drawing on the unique factors which have made Lebo a standout amongst his musical contemporaries. As an added distinction, and play into the birthday angle of event's surprise and celebration, special guest appearances are slated to occur, as referenced via press release and the artist's post on Instagram, where he noted additional inclusions as TBA.   SHOW No. 2:                    Weather Report Suite Prelude  (out of China >Rider/Me & My Uncle/Loose Lucy                                                Track #14                                                3:10 – end                                                   INTO                                                 Weather Report Suite Part I  (out of WRS Prelude/ into WRS Part II (Let It Grow)/Set break  - 16 songs                                                Track #15                                                0:00 – 1:03 David Dodd:  This week, by request, we're looking at “Weather Report Suite,” (Prelude, Part 1, and Part 2). For a short time, the three pieces that comprise the Suite were played as such, but that was relatively short-lived by Grateful Dead standards. The Prelude debuted in November 1972, originally as a separate piece from its eventual companions. The Dead played it, according to DeadBase, four more times in the spring of 1973 before it was first matched up with Weather Report Suite Parts 1 & 2, in September of that year. It was played regularly through October of 1974, and then dropped from the repertoire. The instrumental “Prelude,” composed by Weir, sets the stage for the two pieces to follow. I think it's one of the most beautiful little pieces of music I know—I have never once skipped through it over years of listening. I just let it wash over me and know that its simplicity and beauty are preparing me for the melancholy of Part 1, and the sometimes epic grandeur of Part 2. Part 1 is a song co-written with Eric Andersen, a well-known singer-songwriter who wrote the classic “Thirsty Boots.” He was on the Festival Express Tour (of “Might As Well” fame) across Canada along with the Dead, and I'm guessing that's where Weir and he met and concocted this piece. Happy to be corrected on that by anyone who knows better. Andersen and Weir share the lyric credit, and the music is credited to Weir. Once it appeared in the rotation, in September 1973, it stayed in the repertoire only as long as the Prelude did, dropping entirely in October 1974. The song addresses the seasons, and their changing mirrors the the singer's state of mind as he reflects on the coming of love, and maybe its going, too: a circle of seasons, and the blooming and fading of roses. I particularly like the line “And seasons will end in tumbled rhyme and little change, the wind and rain.” There's something very hopeful buried in the song's melancholy. Is that melancholy just a projection of mine? I think there's something about Weir's singing that gets at that emotion. Loss, and the hope that there might be new love. Weather Report Suite, Part 2 (“Let It Grow”) is a very different beast. It remained steadily in the rotation for the next 21 years after its debut, and the band played it 276 times. Its season of rarity was 1979, when it was played only three times, but otherwise, it was not far from the rotation. It could be stretched into a lengthy jamming tune (clocking at over 15 minutes several times), building to a thundering crescendo. And the “Weather Report” aspect of the song is what was really the most fun many times. Released on Wake of The Flood in 1973. WRS Prelude and Part I:Played:         46 timesFirst:  September 8, 1973 at Nassau Veterans Memorial Coliseum, Uniondale, NY, USALast:  October 18, 1974 at Winterland Arena, San Francisco, CA, USA SHOW No. 3:                     Mississippi Half Step Uptown Toodeloo  (Second Set Opener/into Big River/Dark Star)                                    Track #17                                    3:17 – 4:55 Released on Wake of the Flood in 1973. Mississippi Half-Step Uptown Toodeloo was first performed live by the Grateful Dead on July 16, 1972. It was a frequent part of the repertoire through to 1974. From 1976 onward it was played less frequently with usually between 5 and 15 performances each year. It was not played at all in 1983 and 1984. The last performance was in July 1995. In total it was performed around 236 times. The majority of performances from 1978 onward were as the opening song of a show. Huner/Garcia special.  Great story.  Great lyrics:  “what's the point of calling shots, this cue ain't straight in line.  Cue ball is made of Styrofoam and no one's got the time” Always one of my favorite songs to hear in concert.  ½ Step>Franklin's were especially fun as a one two show opener punch. Played:  236 timesFirst:  July 16, 1972 at Dillon Stadium, Hartford, CT, USALast:  July 6, 1995 at the Riverport Amphitheatre in Maryland Heights (St. Louis), MO MJ NEWS:                 INTRO MUSIC:       Willin'                                                Little Feat                                                Little Feat - Willin' sung by Lowell George Live 1977. HQ Video.                                                0:10 – 1:32                                                1977 "Willin'" is a song written by American musician Lowell George, and first recorded with his group Little Feat on their 1971 debut album. The song has since been performed by a variety of artists.          George wrote the song while he was a member of the Mothers of Invention. When George sang an early version of the song for bandleader Frank Zappa, Zappa suggested that the guitarist form his own band rather than continue under Zappa's tutelage.[1] He did just that, and the song was subsequently recorded by Lowell's band Little Feat. The song was included on Little Feat's 1971 self-titled debut album. The band re-recorded the song at a slower tempo to much greater success on their 1972 Sailin' Shoes album. A live version recorded in 1977 appears on their 1978 album Waiting for Columbus. The lyrics are from the point of view of a truck driver who has driven from Tucson to Tucumcari (NM), Tehachapi (CA) to Tonopah (AZ)" and "smuggled some smokes and folks from Mexico"; the song has become a trucker anthem.  And of course, he asks for “weed, whites (speed) and wine” to get him through his drive. 1.      Using Marijuana Is Tied To Lower Consumption Of Alcohol, Opioids And Other Drugs, New Study Reveals 2.     Why Florida's Marijuana Legalization Ballot Initiative Failed Despite Trump Endorsement, Historic Funding And Majority Voter Support 3.     Marijuana Has ‘Great Deal Of Potential' To Treat Opioid Use Disorder, Study Finds, Predicting It'll Become More Common In Treatment 4.     Colorado Springs Voters Approve Two Contradictory Marijuana Ballot Measures To Both Allow And Ban Recreational Sales Strains of the week: Sub Zero - Sub Zero is a potent Indica-dominanthybrid cannabis strain that combines the robust genetics of Afghan, Colombian, and Mexican origins. This marijuana strain offers a complex flavor profile with notes of apple, menthol, chestnut, lime, and berry, providing a unique and refreshing sensory experience. The aroma of Sub Zero is as intriguing as its flavor, characterized by a rich combination of woody, earthy, and citrus notes, thanks to a terpene profile rich in Humulene, Limonene, Linalool, and Carene. These terpenes not only enhance the flavor but also contribute to the strain's therapeutic properties. Apple Fritter - Apple Fritter, also known as “Apple Fritters,” is a rare evenly balanced hybrid strain (50% indica/50% sativa) created through crossing the classic Sour Apple X Animal Cookies strains. Best known for making the High Times' 2016 “World's Strongest Strains” List, this baby brings on a hard-hitting high and super delicious flavor that will have you begging for more after just one taste. Extract:             Dulce Limon – hyrbrid sativa dominant            Pineapple Fizz – slightly indica dominant hybrid strain SHOW No. 4:                    Dark Star  (Mind Left Body Jam)                                                Track #18                                                34:45 – end This is the name given to a 4-chord sequence played as a jam by the Grateful Dead. It is thought by some to be related to the Paul Kantner song "Your Mind Has Left Your Body." The title "Mind Left Body Jam" was originally used by DeadBase. The first Grateful Dead CD to include a version was "Dozin' At The Knick", where the title was "Mud Love Buddy Jam" in a humorous reference to the DeadBase/taper title. But subsequent releases have adopted the "Mind Left Body Jam" title.Here, it comes out of a 36 minute Dark Star that many say is one of the best ever and links it to an excellent Eyes of the World.Fun to feature one of the band's thematic jams every now and then.  The truly improvisational side of the Dead and their live performances.  Played:  9 timesFirst:  October 19, 1973 at Jim Norick Arena, Oklahoma City, OK, USALast:  March 24, 1990 at Knickerbocker Arena, Albany, NY, USA                                                 INTO                                                 Eyes of the World  (into China Doll/Sugar Mag as second set closer)                                                Track #19                                                0:00 – 2:25 David Dodd:  “Eyes of the World” is a Robert Hunter lyric set by Jerry Garcia. It appeared in concert for the first time in that same show on February 9, 1973, at the Maples Pavilion at Stanford University, along with “They Love Each Other,” “China Doll,” “Here Comes Sunshine,” “Loose Lucy,” “Row Jimmy,” and “Wave That Flag.” Its final performance by the Dead was on July 6, 1995, at Riverport Amphitheatre, in Maryland Heights, Missouri, when it opened the second set, and led into “Unbroken Chain.” It was performed 381 times, with 49 of those performances occurring in 1973. It was released on “Wake of the Flood” in November, 1973. (I have begun to notice something I never saw before in the song statistics in Deadbase—the 49 performances in 1973 made me look twice at the song-by-song table of performances broken out by year in DeadBase X, which clearly shows the pattern of new songs being played in heavy rotation when they are first broken out, and then either falling away entirely, or settling into a more steady, less frequent pattern as the years go by. Makes absolute sense!) Sometimes criticized, lyrically, as being a bit too hippy-dippy for its own good, “Eyes of the World” might be heard as conveying a message of hope, viewing human consciousness as having value for the planet as a whole. There are echoes in the song of a wide range of literary and musical influences, from Blaise Pascal to (perhaps) Ken Kesey; from talk of a redeemer to the title of the song itself. In an interview, Hunter made an interesting statement about the “songs of our own,” which appear twice in “Eyes of the World.” He said that he thinks it's possible each of us may have some tune, or song, that we hum or sing to ourselves, nothing particularly amazing or fine, necessarily, that is our own song. Our song.  The song leaves plenty of room for our own interpretation of certain lines and sections. The verse about the redeemer fading away, being followed by a clay-laden wagon. The myriad of images of birds, beeches, flowers, seeds, horses.... One of my all time favorite songs, Dead or otherwise.  A perfect jam tune.  Great lyrics, fun sing along chorus and some of the finest music you will ever hear between the verses.  First really fell for it while at a small show one night my junior year at Michigan in the Michigan Union, a Cleveland based dead cover band call Oroboros.  We were all dancing and this tune just seemed to go on forever, it might have been whatever we were on at the time, but regardless, this tune really caught my attention.  I then did the standard Dead dive to find as many versions of the song as I could on the limited live Dead releases at that time and via show tapes.  Often followed Estimated Prophet in the first part of the second set, china/rider/estimated/eyes or scarlet/fire/estimated/eyes and sometimes even Help/Slip/Frank/Estimated/Eyes.  Regardless of where it appeared, hearing the opening notes was magical because you knew that for the next 10 – 12 minutes Jerry had you in the palm of his hand. This is just a great version, coming out of the Dark Star/Mind Left Body Jam and then continuing on into China Doll (two great Jerry tunes in a row!) and a standout Sugar Mag to close out the second set.  Any '73 Eyes will leave you in awe and this one is one of the best. Played:  382 timesFirst:  February 9, 1973 at Maples Pavilion, Stanford University, Stanford, CA, USALast:  July 6, 1995 at Riverport Amphitheatre, Maryland Heights (St. Louis), MO  OUTRO:                               And We Bid You Goodnight  (encore out of Uncle John's Band/Johnny B. Goode) 3 song encore!!                                                Track #25                                                :40 – 3:03 The Grateful Dead performed the song a number of times in the 1968-1970 and 1989-1990 periods but infrequently during the rest of their performing career. On Grateful Dead recordings the title used is either And We Bid You Goodnight or We Bid You Goodnight. The Grateful Dead version of this traditional 'lowering down' funeral song originates from a recording by Joseph Spence and the Pindar Family which was released in 1965. The title used on that recording, as on many others, is I Bid You Good Night. This song appears to share a common ancestry with the song Sleep On Beloved from North East England. I got to see it the first night at Alpine Valley in 1989 (the Dead's last year at Alpine) and it really caught the crowd off guard.  Great reaction from the Deadheads.  Kind of a chills down your spine thing.  I was with One armed Lary and Alex, both had been with us at Deer Creek right before.  Lary stayed for all three nights but Alex had to take off after the first show.  Great times.  Played:  69 timesFirst:  January 26, 1968 at Eagles Auditorium, Seattle, WA, USALast:  September 26, 1991 at Boston Garden, Boston, MA, USA  Thank you for listening.  Join us again next week for more music news, marijuana news and another featured Grateful Dead show. Have a great week, have fun, be safe and as always, enjoy your cannabis responsibly.   .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

Welcome to Classic Hawk! Your weekly replay of some of our favorite episodes from archives of 108.9 The Hawk. Today's Episode: The Frank Zappa Morning Show (with Julie Klausner) Originally Aired on September 26, 2022 Boss Ron is trying some new things and this time he's paired Whisp Turlington with the Hawk's latest "star" DJ, Greg Lemonsour. They are joined in-studio by Cindy Ravine (played by Julie Klausner), the world's biggest Frank Zappa fan. Cindy is working to start a Frank Zappa Morning Show and hopes to learn some tips from Whisp and Greg. Also featuring the latest single from "Billy Squier," "NyQuil Chicken!" Zappa's Shoes. Soda Dad by FISTER. Burger Tools and more! Guest Starring: Julie Klausner (Difficult People, Double Threat, Kids In The Hall, Schmigadoon) Julie has relaunched her classic podcast, “How Was Your Week?” Listen here: https://foreverdogpodcasts.com/podcasts/how-was-your-week/ Love 108.9 The Hawk? Here's how to get more: Subscribe to the podcast! Get official merch: http://tee.pub/lic/goodrockshirts Early access & bonus shows: https://patreon.com/1089thehawk Follow us on social media: YouTube, Twitter, Instagram, TikTok, Bluesky, Threads Learn more: https://1089thehawk.com

Catch our crew of mad vinylists as they gone long in the FREESTYLE following the latest SURFACE NOISE presentation. Mark Anthony K (Projekt Gemineye) joins to weigh in on the Mount Rushmore of Halloween(ish) albums, including some continued discussion Frank Zappa (paging Jim Kaplan, Spinz Vinyl, and other Zappa fans). The show lands on a brief talk of the WFMU record fair and what kind of expectations might be in store for some first timers.  All this courtesy of the goodies in the FREESTYLE! Get a taste!   Friendly reminder that you can grab your BRAND NEW Projekt Gemineye album here: https://projektgemineye.bandcamp.com/album/canada-stories-and-legends   For more on Concert Buddie: https://www.youtube.com/@ConcertBuddie https://concertbuddie.com   For more information on Arnaldo (fidelios_frequency): https://www.youtube.com/@fidelios_frequency   For more on Jason Roxas: https://www.youtube.com/@JasonRoxas   For more on Jose Moreno Rahn: https://www.youtube.com/@josemorenorahn https://auroracentralrecords.bandcamp.com       For more information on Vinyl Community Podcasts: https://vinylcommunitypodcasts.com   . . . . . . . . .           Don't forget to visit FOTS (friends of the show) Vinyl Storage Solutions for the BEST sleeves to protect your best records (and your worst). Save 10% using the code(s) below: CONCERTBUDDIE or VCP10   https://vinylstoragesolutions.ca

HOW WAS YOUR WEEK IS BACK! Julie returns with a BRAND NEW episode of How Was Your Week featuring iconic special guest Moon Unit Zappa, author of the new memoir EARTH TO MOON! SUPPORT HOW WAS YOUR WEEK ON PATREON! And get access to the complete back catalog (200+ classic episodes), video episodes, bonus shows, and more! https://www.patreon.com/HowWasYourWeek FOLLOW HOW WAS YOUR WEEK https://www.instagram.com/howwasyourweek2 https://www.tiktok.com/@howwasyourweek2 https://x.com/howwasyourweek2 HOW WAS YOUR WEEK IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/how-was-your-week Learn more about your ad choices. Visit megaphone.fm/adchoices

Our guest this week is Moon Unit Zappa. Moon is an American actress, artist, singer, tea merchant, and author. She is the daughter of the musician Frank Zappa, with whom she collaborated on the hit 1982 song "Valley Girl." Her most recent book is "Earth to Moon," a fantastic, harrowing memoir of her difficult childhood, which we talk all about in this episode. You can find Kim on her Substack: kimfrance.substack.comYou can find Jenn on her Substack: jennromolini.substack.comConcerns? Critiques? Suggestions? Just want to say "hi"? You can email us: everythingisfinethepodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.

RockerMike and Rob Presents: Charles F. Rosenay and Mark ArnoldNot Just Happy Together: The Turtles From AM Radio to Zappa by Charles F. Rosenay and Mark Arnold is a detailed chronicle of the 1960s pop rock band The Turtles. The 466-page book covers the band's entire history, from their origins as The Crossfires through their mainstream success, including the hit “Happy Together,” and later collaborations with Frank Zappa. The book explores the band's hits like “It Ain't Me Babe,” “She'd Rather Be with Me,” and “Elenore,” as well as their less-known ventures like performing with T. Rex and Bruce Springsteen. It also touches on the legal and business issues they faced with their record label, White Whale.The authors bring a wealth of experience in music history, having written about iconic bands like The Monkees and The Beatles. Through interviews with band members and associates, the book provides fresh insights and behind-the-scenes stories that appeal to both casual listeners and hardcore fans of the band.t's time to get “Happy Together” again!Discover the songs and the history of oneof the most successful pop rock bands ever,The Turtles, who had many, many Top 40 hitsincluding “It Ain't Me Babe,” “Let Me Be,” “YouBaby,” “She'd Rather Be with Me,” “You KnowWhat I Mean,” “She's My Girl,” “Elenore,” “YouShowed Me” and of course, the iconic “HappyTogether!” All of their Golden Hits!Authors Mark Arnold (Long Title: Looking forthe Good Times; Examining The Monkees Songs,One by One and Headquartered: A Timelineof The Monkees Solo Years) and Charles F.Rosenay!!! (The Book of Top 10 Beatles Lists andThe Book of Top 10 Horror Lists) have joinedforces to cover the entire careers of The Turtlesfrom their early days as The Crossfi res, throughtheir hit-fi lled years, into their break-up that ledto most of The Turtles' members joining forceswith Frank Zappa's Mothers of Invention, toMark Volman and Howard Kaylan's years as soloartists under the guise of Flo & Eddie, and eventheir forays into children's records.Arnold and Rosenay!!! have reviewed every song and album, and interviewed many of The Turtles'friends and associates along with most of The Turtles themselves, who have given startling newrevelations that will surprise even the most hardcore fan.Open the doors to the Rock & Roll Hall of Fame and to your library to add this book. This defi nitiveTurtles compendium is as unique as The Turtles themselves.www.NotJustHappyTogether.comGenius Music BooksAn Imprint of Genius Book PublishingPO Box 250380Milwaukee Wisconsin 53225 USAGeniusMusicBooks.comGeniusBookPublishing.comLiverpool Productions LLC & International Tours and Eventso: 203.795.4737 c: 203.641.6505www.LiverpoolTours.com   www.LiverpoolProductions.com Professional & Fun Music Entertainment since 1978  Enjoy our promo video: www.youtube.com/watch?v=40a6bryXtc8 Books Now Available from/by Charles: New! Just Released in Hardcover:Not Just HAPPY TOGETHER: THE TURTLES A-Z (AM Radio to Zappa) www.NotJustHappyTogether.com"Celebrities Actors Athletes Mods & Rockers: THE BOOK OF TOP 10 BEATLES LISTS"Get a signed copy for you or a friend!  www.BookOfTop10BeatlesLists.comAlso available on AMAZON"Monsters Celebrities Actors Athletes & Rock Stars: THE BOOK OF TOP 10 HORROR LISTS"Get a signed copy for you or a friend! www.BookOfTop10HorrorLists.comAlso available on AMAZON"TRUE GHOST STORIES OF CONNECTICUT"Get a signed copy for you or a friend! www.ParanormalConnecticut.comAlso available on AMAZON

Moon Unit Zappa drops by Breaking Bread to share her new book “Earth to Moon” where she writes about growing up with Frank Zappa as her father. Tom and Moon talk about veganism, Frank Zappa's crazy fanbase, Moon's relationship with Marc Maron, classic LA Italian haunts, and Egyptologist Dr. Colleen Darnell. In her book, Moon shares stories of growing up in an unconventional household in 1970s Los Angeles, coming of age as part of the MTV generation in the 1980s as the “Valley Girl,” and finding herself after losing her father, then her mother, and the dismantling of her longest relationships. Tom and Moon talk about veganism, Frank Zappa's crazy fanbase, Moon's relationship with Marc Maron, classic LA Italian haunts, and Egyptologist Dr. Colleen Darnell. 

Writer, performer, and Gen-X legend Moon Unit Zappa joins Meghan for a conversation about her new memoir Earth To Moon. She talks about being the eldest child of iconoclastic musician Frank Zappa, growing up in the chaos of the 1970s and 80s rock-and-roll scene, the cultural phenomenon of the hit single Valley Girl, fissures within the Zappa family, and forging a life and career in the today's creative economy. GUEST BIO Moon Unit Zappa was born in 1967 to legendary musician Frank Vincent Zappa and his second wife, Gail Zappa. At the age of 14, she appeared in Frank Zappa's career-defining song, “Valley Girl,” which later helped jump-start Moon's career. Since then, Moon has firmly established herself as a writer, actress, comedian, artist, podcaster, and tea merchant. Buy the book. Want to hear the whole conversation? Upgrade your subscription here. HOUSEKEEPING ✈️ Unspeakeasy Retreats: New ones will be announced soon. See where we'll be!

Krystle remembers a fake memory. The Browns first home game of the seaon was a flop. Tom Brady appeared in his first live broadcast. Dolphins player, Tyreek Hill, was pulled over & detained for a moving violation in Miami. The Eagles players were bad mouthing Brazil. The Adventures of Larocque road tripping. Corey Rotic joins the show to talk about latest controversy involving the new lead singer of Linkin Park. Have you ever left anything in the oven while it is preheating? An update on the serial porch pooper. There is no Ethan. Would you trust a doctor who was catfishing others? Moon Zappa wrote a book and details a weird date she had with Woody Harrelson. Duji hung out with the Zappa family. Grab it and growl. Snitzer went to another concert. Woman is found eating a housecat. 

For much of the world, Moon Unit Zappa is famous for two things: the unusual name given her by her father, iconic musician Frank Zappa, and the 1982 song “Valley Girl” where she appeared with Frank when she was 14. The full, complex portrait of life in this unconventional family isn't all that funny as told by Moon today. She tells of a lifetime of neglect, of witnessing Frank's serial infidelity within the family home, of a mother prone to severe narcissism, and of a great deal of alienation between Moon and her three siblings. You can't control the world you grew up in but you can conscientiously choose the world you create afterwards.Thank you to all our listeners who support the show as monthly members of Maximum Fun.Check out our I'm Glad You're Here and Depresh Mode merchandise at the brand new merch website MaxFunStore.com!Hey, remember, you're part of Depresh Mode and we want to hear what you want to hear about. What guests and issues would you like to have covered in a future episode? Write us at depreshmode@maximumfun.org.Help is available right away.The National Suicide Prevention Lifeline: 988 or 1-800-273-8255, 1-800-273-TALKCrisis Text Line: Text HOME to 741741.International suicide hotline numbers available here: https://www.opencounseling.com/suicide-hotlinesThe Depresh Mode newsletter is available twice a week. Subscribe for free and stay up to date on the show and mental health issues. https://johnmoe.substack.com/John's acclaimed memoir, The Hilarious World of Depression, is now available in paperback. https://us.macmillan.com/books/9781250209566/thehilariousworldofdepressionFind the show on X @depreshpod and Instagram @depreshpod.John is on X @johnmoe.  

RSVP HereTake a late lunch hour and join Jim DeRogatis & Greg Kot for a LIVE taping of Sound Opinions at the Goose Island Salt Shed Pub.This time we're featuring an interview and performance from Umphrey's McGee.It's on Friday, August 23 at the Goose Island Salt Shed Pub in Chicago. And it's FREE!Umphrey's McGee (UM) has built a rabid fanbase through endless touring, putting them on the road 100+ nights a year. Their constantly evolving sound channels a wide spectrum of influences while still preserving their distinct voice through crafty songwriting. With a massive repertoire of originals and note-perfect covers, their live shows are like flipping through the presets on your radio dial. Their A.D.D. approach to "progressive improvisation" utilizes a set of Zappa inspired hand signals allowing them to orchestrate their melodic creations on the fly.Drink a beer and enjoy the music of Umphrey's McGee in this exclusive performance.The recording will run from approximately 1:45 PM - 3:00 PM.Please be there promptly at 1:15 PM to secure your spot.PLEASE NOTE:-This is a 21 and over event.-A TICKET DOESN'T GUARANTEE YOU ENTRANCE. Seats will be given on a first come, first served basis. Please arrive promptly to make sure you get in.-There is some street parking, which is available on a first come, first served basis.-There's also a variety of paid parking. For options and availability, please visit Spot Hero.-Biking, public transportation or ridesharing is encouraged.-No late entries. The doors will close promptly at 1:45 PM.Questions: interact@soundopinions.orgSound Opinions is supported by the Goose Island Brewing Company.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.