Podcasts about zappa

Porchat recebe Edvana Carvalho, João Pedro Zappa e Suel. Na plateia, Cisão e um olho perdido e Paulo Cesar manda um recado para um orixá.

Garth Heckman The David Alliance TDAgiantSlayer@Gmail.com    Robin: EVERYTHING WAS HOLY….       What are five things no one would know about Burt Ward who played Robin in the TV show Batman?   ### 1. **A Speed-Reading Sensation**   Before hitting the big time, young Burt became an accomplished speed-reader. He was tested before the American Medical Society in Beverly Hills and clocked a staggering **30,000 words per minute with 90% comprehension**—far beyond average reading speeds. ([Classic Movie Hub - CMH][1], [TV Banter][2])   ---   ### 2. **World's Youngest Professional Ice Skater**   At just **two years old**, Burt was featured in the magazine *Strange as It Seems* as the **world's youngest professional ice skater**, thanks to a traveling ice show owned by his father. ([Wikipedia][3], [Classic Movie Hub - CMH][1])   ---   ### 3. **He Did (Most of) His Own Dangerous Stunts**   Unlike many stars, Burt performed most of his own stunts, even though his face made using a stunt double difficult. This led to multiple emergency room visits—**dozens**, he says—due to injuries from stunts like being tied to a table with a real buzz saw inches away or suspended above Bengal tigers. ([Wikipedia][3], [Express][4])   A Reddit user humorously shared one of Burt's more wild stories, recalling how during one stunt he was flung from the Batmobile when the door unexpectedly opened—and cracked an arm. ([Reddit][5])   ---   ### 4. **Musical Collaborations with Frank Zappa**   During *Batman*'s peak, Burt recorded several tracks produced by Tom Wilson and arranged by Frank Zappa. Notably, he released a single featuring "Boy Wonder, I Love You" (written by Zappa) and a cover of "Orange Colored Sky." ([Wikipedia][3], [Classic Movie Hub - CMH][1])   ---   ### 5. **Rescue Work for Giant-Breed Dogs**   Beyond Hollywood, Burt—and his wife Tracy—devoted themselves to canine welfare. In **1994**, they founded *Gentle Giants Rescue and Adoptions*, significantly impacting the lives of giant-breed dogs. Their nonprofit has facilitated **over 15,500 adoptions** and often houses around **50 dogs at home** awaiting forever families. ([Wikipedia][3], [People.com][6]) Additionally, their company *Gentle Giants* produces natural pet food aimed at boosting pets' longevity and wellbeing. ([People.com][6])   ---   ### Bonus Tidbits:   * Burt actually chose his own stage name: swapping “Gervis” for *Ward* (his mother's maiden name) and altering “Bert” to “Burt” because it had more punch. ([Wikipedia][3], [Classic Movie Hub - CMH][1]) * He holds a **Guinness World Record** for portraying the same live-action superhero in the most episodes (120 as Robin). ([Facts.net][7], [The Famous People][8]) * In **2020**, Burt received a star on the **Hollywood Walk of Fame**—a fitting tribute to the iconic Boy Wonder. ([Hollywood Walk of Fame][9])   To understand the deep meaning of redemption in Greek scripture, it is essential to explore the key terms used by New Testament writers, primarily agorazō and its cognates (exagorazō), and lytron with its related forms (apolytrōsis, lytrōsis). These words paint a picture of redemption as a decisive, costly, and legally binding rescue from the slavery of sin and its consequences.  Key Greek words for redemption Agorazō (ἀγοράζω) and exagorazō (ἐξαγοράζω) The verb agorazō means "to buy or purchase" and is derived from agora, the Greek marketplace or slave market. The related verb exagorazō, which means "to buy out or buy from," intensifies this meaning.  Bought at a price: The use of agorazō emphasizes that humanity was on the auction block of sin but has been purchased by Christ. Paul writes in 1 Corinthians 6:20, "For you were bought with a price" (ēgorasthēte timēs), underscoring the high cost of this purchase. Freedom from the Law: The more intensive term exagorazō highlights a targeted purchase designed to remove something or someone from their previous state. For example, Galatians 4:5 says Christ came to "redeem those who were under the law" (exagorazō tous hupo nomon). This signifies not just a general purchase but a deliberate act of freeing people from the curse and bondage of the Law.  Lytron (λύτρον), apolytrōsis (ἀπολύτρωσις), and lytrōsis (λύτρωσις) This cluster of words emphasizes the idea of a ransom payment that brings about release. Lytron (ransom price): Lytron specifically refers to the monetary price paid to free a slave or captive. In Matthew 20:28 and Mark 10:45, Jesus says he came "to give his life as a ransom (lytron) for many," directly comparing his death to a payment made to secure the freedom of others. Apolytrōsis (completed redemption): The preposition apo is an intensifier, making apolytrōsis a "stronger form" of the word that denotes a complete and finalized liberation. This is the word used when describing the future, full redemption of believers' bodies at the resurrection (Romans 8:23) and the day of ultimate redemption (Ephesians 4:30). Lytrōsis (the experience of release): This noun refers to the deliverance or liberation that results from the payment of a ransom. Hebrews 9:12 explains that Christ "obtained eternal redemption (lytrōsis) for us".  The holistic and progressive nature of redemption The deep meaning of redemption in the Greek New Testament moves beyond a simple, one-time transaction to a multi-faceted and progressive work of God.  Past: An accomplished fact The price for sin has been paid through Christ's death on the cross, accomplishing a decisive and objective redemption for all believers. The sacrifice of Christ is the ultimate ransom (lytron), securing our justification and the forgiveness of sins (Romans 3:24).  Present: An ongoing reality The power of redemption is at work in believers' lives, delivering them from sin's power and purifying them to be a people for God's possession (Titus 2:14). As part of this transformation, believers are no longer slaves to sin but bondservants of righteousness (Romans 6:18).  Future: A complete deliverance Redemption is not yet fully realized. Believers "groan inwardly as we wait eagerly for our adoption as sons, the redemption of our bodies" (Romans 8:23). The final stage of redemption will be the complete liberation from corruption and the resurrection of our bodies when Christ returns (Luke 21:28).  A covenantal and communal significance Understanding the Greek word for redemption also brings with it significant implications for our relationship with God and others.  A treasured possession (peripoiēsis) 1 Peter 2:9 refers to believers as "a people for his own possession (peripoiēsis)." The Greek term highlights that God did not simply purchase us to release us, but to acquire and preserve us as his treasured property. This identity echoes the Old Testament concept of Israel as God's segullah, his special, prized possession.  Motivating holiness - HOLY MOTIVATION BATMAN The knowledge that we belong to God motivates believers to live holy lives and not grieve the Holy Spirit (Ephesians 4:30). The infinite cost of our redemption, the blood of Christ (1 Peter 1:18–19), calls believers to live not for themselves but for Christ. 

Homebrewer Mitchel Jensen shares some of his hop freezer bounty as we compare Zappa, Bergamot, and Experimental 25.

Great to be back with Timothy Finn for our always electic and enjoyable musical banter. This time new videos for older tunes, documentaries, oddities and more featuring Billy Joel, Buckingham/Nicks, Talking Heads, Frank Zappa, upcoming live shows, and other updates. Enjoy!

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

From his early albums with the Mothers of Invention, Frank Zappa established a reputation as a musical genius who pushed the limits of culture throughout the 1960s and 1970s, experimenting with a blend of genres in innovative and unheard-of ways. Not only did his exploratory styles challenge the expectations of what popular music could sound like, but his prolific creative endeavors also shaped how audiences thought about the freedom of artistic expression. In Frank Zappa's America (LSU Press, 2025), Bradley Morgan casts the artist as an often-misunderstood figure who critiqued the actions of religious and political groups promoting a predominantly white, Christian vision of the United States. A controversial and provocative satirist, often criticized for the shocking subject matter of his songs, Zappa provided social commentary throughout his career that spoke truth to power about the nefarious institutions operating in the lives of everyday Americans. Beginning in the late 1970s, his music frequently addressed the rise of extremist religious influence in American politics, specifically white Christian nationalism. Despite commercial and critical pressure, Zappa refused to waver in his support for free speech during the era of Reagan and MTV, including his pointed testimony before the U.S. Senate at the Parents Music Resource Center (PMRC) hearings. Throughout the 1980s, and until his death in 1993, Zappa crafted his art form to advocate for political engagement, the security of individual liberties, and the advancement of education. Music became his platform to convey progressive views promoting the rights of marginalized communities most at risk in a society governed by the principles of what he perceived as Christian radicalism. Frank Zappa's Americexamines the musician's messaging through song, tracing the means by which Zappa created passionate, at times troubling, art that combats conservativism in its many manifestations. For readers in the twenty-first century, his music and public advocacy demonstrate the need to preserve democracy and the voices that uphold it. Bradley Morgan, a media arts professional based in Chicago, is the author of U2's The Joshua Tree: Planting Roots in Mythic America. He manages partnerships for CHIRP Radio 107.1 FM and directs the station's music film festival. Morgan also interviews authors of music and pop culture books for the New Books Network podcast. Caleb Zakarin is editor of the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Five years ago I interviewed a young chap who was making a living as a musician. A week ago I attended his latest album release party at Asbury Lanesand, wow! I can't rave enough about his band, We Used to Cut the Grass.  We talked about Frank Zappa's influence on his music - and Zappa's misogyny - as well as his attitude toward different music genres, from rap to classical to country. His opinions might surprise you! Here's a link to Cody's YouTube channel. Check it out! https://www.youtube.com/user/vestibulemusic/about    Pardon the background noise. It was during Covid so we talked on my deck. 

Gibby Haynes discusses his upcoming EU/UK tour, the completed Butthole Surfers documentary, early punk memories, near-death stage experiences, vinyl reissues and lots more. EU/UK Tour Tickets here  Topics Include: Gibby discusses upcoming European & UK tour with Scott Thunes and musical kids Tour dates are limited, zero chance of expansion beyond Europe/UK Scott Thunes was Frank Zappa's former bassist and "clone meister" Gibby confirms he's a Frank Zappa fan, particularly loved "Apostrophe" album Lost interest in Zappa after "Apostrophe" due to scatological humor focus Initial confusion about Scott Thunes - Gibby doesn't know who he is Clarifies he works with Paul Green's School of Rock for 20 years Scott Thunes may be coming on tour, is friend of Paul Green Gibby has no direct connection to Scott Thunes, only knows Paul Green Sometimes tours individually with kids, different kids each time Butthole Surfers once toured Europe with School of Rock as opener Kids' performance quality varies - sometimes really good, sometimes not Gibby lost entire record collection when engineer sold it during tour Collection was 3-4 feet of curated vinyl, mostly punk and hardcore Had valuable Buzzcocks singles collection among other rare records Met record dealer in San Antonio mall who introduced great albums Dealer showed him Devo's first album when it came out Key collection moment was hitchhiking trip to LA in summer 1979 Saw early LA punk shows including Go-Gos opening for Fear LA was only US city where audience spit at bands Witnessed massive amounts of phlegm on Belinda Carlisle during show John Belushi was standing next to him at the Go-Gos show Almost saw the Dickies' "last show" but it was cancelled Dickies are apparently still performing, contrary to expectations Gibby wrote memoir "Me and Mr. Cigar," wants to do sequel Criticizes most musician memoirs as ghostwritten, prefers authentic voices Cites Bob Dylan and Patti Smith as examples of self-written memoirs Discusses looking at legacy, mentions end being closer than beginning Still painting but doesn't do regular gallery shows or solo exhibitions Questions whether rockers are musicians or entertainers, favors entertainment label Believes rockers make better actors than actors make musicians Cites Childish Gambino and Lady Gaga as successful crossover examples Mentions Russell Crowe's band "50 Odd Foot of Grunts" dismissively Did artwork for several album covers including "P" and other releases Sold all artwork at LA gallery show while Sonic Youth members sold none David Yow pointed out his success, making him particularly happy Maintains friendships with successful musicians like Red Hot Chili Peppers Gets VIP access to major shows, brings 15-year-old son along Son says he loves Gibby but frequency might be concerning Kids don't appreciate backstage access until they can drink alcohol Mentions Dwarves show where son enjoyed the beer more than music Discusses Eagles of Death Metal and Queens of Stone Age name quality David Crosby once asked why they chose "Butthole Surfers" as name Responded that "Haynes, Walthall, Pincus and Coffey were already taken" Band appeared on Beavis and Butthead with respectful introduction Used different band names for every show, including outrageous ones Paul Leary nearly died from electrical shock at CBGB performance Sound engineer failed to warn about dangerous electrical outlet Butthole Surfers documentary "The Hole Truth" is completed, seeking distribution Twenty percent of documentary viewers cry during screenings, usually same moment Band controls all their catalog rights across different labels Potential vinyl box set in works, discusses remastering philosophy 50+ Minutes Extra-Extended and high resolution version of this podcast is available at: www.Patreon.com/VinylGuide Listen on Apple: https://apple.co/2Y6ORU0 Listen on Spotify: https://spoti.fi/36qhlc8

Greg Koch sits down with guitar virtuoso Dweezil Zappa for a fascinating deep dive into musical authenticity, technical mastery, and the challenge of preserving a legendary legacy. Their conversation reveals the extraordinary dedication required to perform Frank Zappa's intricate compositions, with Dweezil candidly sharing his 14-year journey to truly internalize his father's musical vocabulary.What begins as a discussion about guitar techniques evolves into profound insights about musical connection. Dweezil explains why, despite growing up as Frank Zappa's son, he initially gravitated toward more guitar-centric players, such as Eddie Van Halen, before tackling his father's complex work. He compares performing Frank's arrangements to an "orchestral mindset" where precision and teamwork are paramount, revealing that despite years of touring, he must essentially relearn most pieces before each performance.The conversation takes unexpected turns through musical philosophy, modern guitar culture, and the realities of today's music industry. Dweezil offers a valuable perspective for independent musicians, suggesting that cultivating meaningful relationships with a dedicated fanbase is far more sustainable than chasing mainstream success: "Instead of trying to get a dollar from a million people, what if you cultivated a relationship with 10,000 people who want to spend a hundred dollars every year?" Throughout their exchange, both guitarists reflect on finding balance between technical skill and emotional connection, agreeing that the ability to move an audience often transcends pure virtuosity.

Bradley Morgan, author of "Frank Zappa's America", on Zappa's battle with the PMRC in 1985.Listen to Episode 301: Frank Zappa's Legacy: Music Against Mainstream Norms---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com

It's the return of the ZappaCast!! And what an incredible treat we have for you! In this episode, we do a DEEP DISH dive into the new Frank Zappa album and film, CHEAPER THAN CHEEP! A virtually unheard of gem seeing the light of day from the Zappa Vault for the first time, Cheaper Than Cheep consists of performance material from a video shoot that Frank and the Mothers performed at for a television special that never materialized. Needless to say, this is MEGA! Vaultmeister Joe takes us behind the scenes of the making of this amazing project, which is a true gift to Zappa fans everywhere and a loving testament to an unbelievably great and unique Mothers lineup!

Frank Zappa's music is known for its intricate compositions, satirical lyrics, and iconoclastic viewpoints. He frequently used his music to critique societal norms, political institutions, and mainstream culture, often employing humor and absurdity to make his points. He fought for freedom of speech, self-education, and political participation, while also opposing censorship and recreational drug use. In this episode, author Bradley Morgan explores Zappa's messaging through song. Purchase a copy of Frank Zappa's AmericaVisit Bradley Morgan's websiteFollow Bradley Morgan: BlueskyInstagram ---------- BookedOnRock.com The Booked On Rock Store The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:BLUESKYFACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Episode 97: Gershwin Prize Winner July 6, 2025 And the Gershwin Prize goes to …….The aging process on humans is real. What we do and dont do may play a big part in how that process affects us or not. The vinyl LPs of that era and the new ones being purchased today will last a lot longer than the color in our hair or our smooth and youthful skin. All Im saying is that the age of rock is so wide and varied, from Elvis to Zappa, we have a lot of ground to cover in these short one-hour shows. And, who knows, maybe listening to the music of our youth may give a moment in time when we can enjoy those times or not. Admit it, it wasnt all bad. If you have some input, like my friend, Puh-mella did, let me know your taste in music, who/what/when. Email all your comments to me at TalesVinylTells@gmail.com. The podcasts are all available at http://www.studiomillswellness.com/tales-vinyl-tells, on Apple podcasts, podbean.com and a whole bunch of good podcast apps. 

Our guest on the Misadventures in Music podcast is the acclaimed music writer, broadcaster and self-styled ROCK N ROLL WITCH Zoe Howe. She's written or co-written biographies of some of the most influential musicians of the 70's and 80's - Wilko Jonson, The Slits, Poly Styrene, Jesus and Mary Chain, and Stevie Nicks. Zoe tells some wonderful tales about working with such luminaries, and her fascinating study of the Sons and Daughters of Rock Royalty - including Plant, Lennon, McCartney, Zappa, and Jagger. As if that isn't enough, she also talks about her life as a bona fide witch. Misadventures in Music with Ian Prowse and Mick Ord - subscribe now!Zoe's website - https://zoejhowe.wixsite.com/Zoe's Playlist  -Falco - Rock Me Amadeus- The Who - Let's See Action- Pride (In The Name Of Love)  - U2- Heard It Through The Grapevine - Slits- Cracking Up - Jesus and Mary Chain- Brother Doctor, Sister Nurse - Mickey Jupp- Number 9 Dream - John Lennon

Send us a textIn this week's episode of The Rock-N-Roll Show Podcast, I review the unforgettable Dweezil Zappa Rox(Postroph)Y concert at New York City's Town Hall. We got to witness a killer 26-song set celebrating the 50th anniversary of Frank Zappa's Apostrophe and Roxy & Elsewhere albums. From “Don't Eat the Yellow Snow” to “Muffin Man,” Dweezil's insanely talented and delightfully weird band brought the music to life with precision, humor, and total rock-n-roll spirit.Whether you're a hardcore Zappa fan or just Zappa-curious, Dweezil's concerts are a rare kind of magic—equal parts virtuosic and irreverent. I break down the setlist, share some great video clips, and share the very unique was the show ended - unlike any concert I've ever seen. Plus, we've got a full Spotify playlist to go along with the episode, so be sure to check that out. Like, follow, subscribe, and don't forget—life is short, so get those concert tickets! All this week on the Rock-N-Roll Show Podcast!00:00 Introduction01:37 Who is Dweezil Zappa?03:11 The Concert Experience07:47 Special Guests and Cover Songs13:24 Encore and Final Thoughts15:46 Closing Remarks===========================Connect with us on social media!YouTubeInstagram TikTok Facebook

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!!

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

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

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

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.

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