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Richard Heppner Explores a Century of Change in “Woodstock: From World War to Culture Wars”

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In Woodstock: From World War to Culture Wars, historian Richard Heppner explores a century of transformation in Woodstock, N.Y., tracing its evolution from a quiet rural town to a cultural epicenter shaped by artists, musicians, and shifting societal movements.

The story of Woodstock, N.Y., over the last 100 years and how a small, rural town coped with the many challenges of changing times.

Few towns in America are as famous as Woodstock, New York-although Woodstock may be most famous for an event that happened many miles away! Long before the 1969 Woodstock festival put the town on the map, it had been a center for artists and free thinkers who found refuge in its rural setting. Longtime citizens were often shocked by the arrival of these newcomers who brought new values and attitudes to their once-isolated village. From the transformative arrival of artists in the early twentieth century to the influx of musicians and young people in the 1960s, Woodstockers worked and struggled to balance everyday life in a small, rural community with the attention and notoriety the outside world brought to it. Presented chronologically, this text examines the nature of change within Woodstock’s uncommon story as it emerges from the Great Depression, confronts the realty of World War II, moves through the 1950s and into an unimagined and unintended future with the arrival of the Sixties through today. At its core, this is a story of how Woodstock’s cultural and political institutions, its citizens, and its physical landscape met the ever-changing challenges of changing times. It is a story of community, resilience, conflict, and transition into a world its early settlers could not have imagined.

Richard Heppner is Emeritus Professor of Communications and the former Vice President of Academic Affairs at Orange County Community College, State University of New York, and has served as the Woodstock Town Historian since 2001. He is the author of Woodstock’s Infamous Murder Trial: Early Racial Injustice in Upstate New York and coauthor (with Janine Fallon-Mower) of Legendary Locals of Woodstock.

“The Real Sinéad O’Connor” by Ariane Sherine Offers an Intimate Look at the Iconic Singer’s Life

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In The Real Sinéad O’Connor, author Ariane Sherine delivers an intimate and revealing portrait of the legendary Irish singer, exploring her tumultuous life, fearless activism, and enduring musical legacy.

Sinéad O’Connor, renowned for her angelic voice and activism, overcame a tumultuous upbringing to become a global protest singer and advocate for social justice. Sinéad O’Connor achieved worldwide success as an angel-voiced, shaven-headed Irish singer of heartfelt songs, but she was far more than just a pop star – she was also an activist and a survivor.

Reeling from a troubled childhood at the hands of her violent mother, she spent 18 months living in a former Magdalene Laundry due to her truancy and shoplifting, and suffered her mother’s death in a car crash – all by the age of 18. Her pain, anger and compassion would turn her into one of the world’s greatest protest singers and activists. She would release ten studio albums during her 36-year music career – the second of which (I Do Not Want What I Haven’t Got) would reach number 1 across the world and earn her ten million pounds, half of which she gave to charity. During this time, she would also advocate for survivors of child abuse and racism, and stand up for the LGBT community and women’s reproductive rights. Most notably, she would tear up a picture of Pope John Paul II during an episode of Saturday Night Live in order to protest at child sex abuse within the Catholic church, creating headlines around the world and derailing her career. Featuring six exclusive interviews with friends and peers who knew her, this is the true story of her extraordinary and courageous journey.

Samantha Fish Announces ‘Paper Doll’ Album And Shares Electrifying New Single “I’m Done Runnin’”

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Samantha Fish, one of the most electrifying guitarists of her generation, has shared new single “I’m Done Runnin'” – the lead-off track from her forthcoming album Paper Doll, out April 25 via Rounder Records.

An exhilarating statement of self-reliance and unshakable confidence, Fish brings her signature “bold and expressive” (NPR, World Cafe) flair to the new song. “I’m Done Runnin'” opens with sublimely moody riffs, fueled by her extraordinary vocal power and emotionality: “When I look in the mirror, staring at the unknown / The world’s not getting clearer, but I like where I’m goin,'” she sings. “It’s about pushing forward even when life knocks you down, because you know what you want,” Fish explains.

It’s this vibrant, unapologetic energy that the Kansas City-bred, New Orleans-based musician brings to Paper Doll, each song delivered with visceral force, soul-soothing empathy, and newfound clarity. “It’s taken me years to finally find my voice in a studio setting,” Fish admits. “But with this record, I took everything I had and slammed it right on the table.” Paper Doll offers listeners “a taste of the neo-psychedelic fantasias that can occur when Fish stretches out in concert,” said Premier Guitar, who featured Fish on the cover of their just-released April 2025 issue. Throughout the album Fish explores new depths of vulnerability and self-expression, confronting love, loss, and personal growth-all while “stretching idiomatic boundaries” (Nashville Scene).

Tracked in Austin at The Orb and Los Angeles at Savannah Studios, the 9-song collection was recorded amid Fish’s grueling touring schedule, ultimately capturing the untamed energy of her live performances. “I’d never made a record on the road like that,” Fish reveals. “Even though it was so intense, it felt good to keep up the momentum from the live show. It helped us make an album that’s got a real living, breathing pulse to it.” Paper Doll is produced by Detroit garage-rock legend Bobby Harlow (The Go) – with assistance from fellow Detroit luminary Mick Collins (The Gories) on one track – and features touring bandmates Ron Johnson (bass), Jamie Douglass (drums), and Mickey Finn (keys).

Known for her unique blend of rock and soul, expressive guitar playing and powerhouse performances, Fish’s career hit warp speed with the release of her last album, 2023’s Death Wish Blues, which hit #1 on the Billboard Blues Chart, earned her a Grammy nomination, and saw her share stages with The Rolling Stones, Jon Spencer, Slash and more.

Bryan Ferry & Amelia Barratt Unveil ‘Loose Talk,’ A Bold New Artistic Collaboration

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Bryan Ferry and performance artist, writer and painter Amelia Barratt release ‘Loose Talk,’ the latest work and title track from their upcoming collaborative album Loose Talk, due for release on March 28. The accompanying video was shot by Bryan Ferry.

The title track ‘Loose Talk’ boasts a near-motorik drive and features the presence of Roxy Music’s Paul Thompson on drums, and follows the richly detailed and transportive ‘Orchestra’, and ‘Florist’ that invited listeners deeper into the cinematic world of Loose Talk.

Loose Talk signals the beginning of a new creative chapter for Bryan Ferry, blurring the lines between music, poetry and art. Fifty-three years since Roxy Music’s iconic debut album arrived like a bolt-from-the-blue, his latest project is just as startlingly unexpected. The sounds and shapes, and the spoken words they are set to, are unlike any previous Bryan Ferry album. At the same time, the mood that Loose Talk captures is rooted in Ferry’s past half-century of work.

Loose Talk marks the first time Ferry has created new music for another writer’s words. The album consists of eleven texts, composed by Amelia Barratt, creating fascinating micro-fictions, simultaneously fragmentary and self-contained.

The album balances refined minimalism and abstraction with an experimental and youthful energy. Ferry’s music and Barratt’s texts each hold their own codes. As those codes pulse as one, the album discovers its own language – two monologues begin a conversation that becomes a duet.

Earlier this week, Bryan and Amelia announced a special Spatial Playback event taking place at London’s ICA on the day of the album’s release. Fans can experience Loose Talk in glistening 360° audio at ICA, using the venue’s spatial soundsystem, d&b Soundscape. For more information and tickets, see here.

Discussing Loose Talk, Bryan Ferry said: “The whole experience of making Loose Talk has had an interesting newness about it. It seems to have opened a whole new chapter in my work. There’s a really strong mood to the work that Amelia does and I was very conscious of not getting in the way of her words. Hopefully, together, we’ve created something neither could do on our own.

The nearest I ever got to doing pieces like this before would maybe be back in Roxy with “In Every Dream Home A Heartache,” and “Mother Of Pearl”. To some extent, those are kind of spoken monologues. I’m pleased that when we’ve played Loose Talk to people, they’ve said, “Oh, this sounds really different.” That’s what I’ve always wanted with everything I’ve done, or been involved in, to be: different. Different to what you’ve heard before, or seen before. That’s the whole point of being an artist: trying to create a new thing, a new world.”

Amelia Barratt said: “Loose Talk is a conversation between two artists: a collaborative album of music by Bryan Ferry with spoken texts by me. It’s cinematic; music put to pictures.

There’s possibility for experimentation within a frame. And there’s a freedom in knowing exactly what my part to play is, then being able to pass a baton, stretching out creatively and knowing there is someone on the other side to take it further. Nothing feels off limits.”

Bryan Ferry and Amelia Barratt were first connected via their separate involvements in the art world. The collaboration began with a chance meeting at an exhibition opening, where Ferry grew intrigued to learn Barratt had started working with writing and performance in parallel with her painting. Both artists share an art school background – Bryan Ferry studied painting at Newcastle University in the 1960s, Barratt at Glasgow School of Art and the Slade School of Art, where she received an MFA in 2016 – but it’s the differences between them that animate Loose Talk and create unmapped territory.

Bryan Ferry’s collaboration with Amelia Barratt was first teased with the release of ‘Star’ in 2024 – presented as the latest composition on the newly released 81 track career-spanning collection, Retrospective: Selected Recordings 1973-2023.

Oklahoma Music Hall of Fame to Induct Cross Canadian Ragweed, Jason Boland & The Stragglers, The Great Divide, and Stoney LaRue

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The Oklahoma Music Hall of Fame announced that it will be inducting four deserving and well-respected bands/musicians into the Oklahoma Music Hall of Fame. This latest class of inductees will be honored and presented their awards on the opening night (Thursday, April 10th) of the “Boys From Oklahoma” concert/event in Stillwater, Oklahoma at the Boone Pickens Stadium on the Oklahoma State University campus.

Stillwater is the perfect setting for the presentation being the birthplace of the Red Dirt music genre where many Oklahoma musicians and inductees began their music careers. Along with Turnpike Troubadours who have already been inducted, all four inductees will be on the stage for the 4-night event that sold out in a mere few hours. www.okmusichall.com

Musicians being inducted in 2025:

Cross Canadian Ragweed-Formed in 1994, Cross Canadian Ragweed is a wildly influential indie country rock band from Stillwater who dominated the touring circuit for over a decade amassing millions in touring revenue and sharing bills with some of the biggest names in music. Known as one of the bands who helped start the “Red Dirt” music movement, the band consists of Cody Canada, Grady Cross, Randy Ragsdale and Jeremy Plato. They had a number of charting hits including “17,” “Alabama,” and “Anywhere But Here.”  In May of 2010 they announced they were taking a break from touring and played their final show together in October 2010. In September of 2024 they announced a reunion show alongside other Oklahoma musicians and friends, Turnpike Troubadours, The Great Divide, Jason Boland and the Stragglers and Stoney LaRue appropriately called “Them Boys From Oklahoma.”

Jason Boland and the Stragglers – In 1999, with the release of Pearl Snaps, Jason Boland and the Stragglers became one of the most successful bands in the Red Dirt and Texas country music scene. They released their first “live” album, Live and Lit at Billy Bob’s Texas in 2004. High in the Rockies was another hit album that was recorded over four days of shows, and Live from Cain’s Ballroom was released in June 2024. Their concept album titled The Light Saw Me was produced by Shooter Jennings, son of country music artist Waylon Jennings. Recording ten studio albums and three live albums has helped to propel them to be one of the most sought-after bands working today.

The Great Divide –The Great Divide is one of the most iconic bands from the Red Dirt music scene that has inspired the new generations of musicians for many, many years. They were the first band to bring the Red Dirt sound to a national audience when they signed to Atlantic Records in the late 90’s.  After a 20- year hiatus, the band reformed and recorded their first album together after two decades called Providence. The album garnered critical acclaim and boasted five consecutive #1 hit singles in Texas. The band made their Grand Ole Opry debut in 2024 and performed on the hallowed stage of the Ryman Auditorium. Turnpike Troubadours and young phenom Wyatt Flores cites The Great Divide as a key influence.

Stoney LaRue – For more than 20 years Stoney LaRue has traversed the country playing sold out shows featuring the styles that have helped to make Red Dirt music a well –known genre. He has sold out more than 200 shows per year almost continuously and has had albums chart on iTunes and Billboard and has had videos featured on CMT. To date Stoney has sold more than a million albums and singles. He has performed duets with many of the biggest names in country music such as Miranda Lambert and Lee Ann Womack and has performed on the stage at the renowned Grand Ole Opry. During the early days in Stillwater, Stoney, Cody Canada, and Jason Boland were roommates working and living in the epicenter of the Red Dirt explosion.

Executive Director of the Oklahoma Music Hall of Fame, Tony Corbell, continually speaks often about the amount of musical talent in the state. “It’s almost overwhelming how many great musicians, singers, sidemen, support folks, songwriters, sound and recording engineers are here,” says Corbell. The president of the Hall of Fame’s Board of Directors, Mr. Boone Mendenhall, himself a popular singer and songwriter, says “I became a guitar player because of Jason Boland and Cody Canada as I listened to them over and over when I was young. It made me want to follow this passion for music.” He added how much all four of these artists being celebrated have inspired his and many other’s careers.

Since 1997 The Oklahoma Music Hall of Fame has inducted more than 144 members. Friends of Oklahoma Music worked with the Oklahoma Legislature, and in 1999, lawmakers created the Oklahoma Music Hall of Fame, naming it a place to honor, recognize and pay tribute to Oklahoma musicians and our rich music heritage. Through the work of hundreds of volunteers over the years, the Hall has established a national and statewide reputation as a place to enjoy and experience music.

Five Surprising Facts About David Bowie’s ‘Low ‘

David Bowie’s Low was a sonic detour in a career full of many that shattered expectations. Released in January 1977, Low marked the beginning of his Berlin Trilogy and introduced a stark, experimental sound that baffled his record label but shaped post-punk, electronic, and ambient music for decades to come. But beyond its legendary status, Low has a history as fascinating as its music. Here are five things you probably didn’t know about one of Bowie’s boldest records.

1. It Was Almost Scrapped by RCA

David Bowie was coming off the commercial highs of Young Americans and Station to Station when he delivered Low to RCA Records—and the label was horrified. Gone were the slick soul influences and dramatic Thin White Duke theatrics; instead, Bowie turned in an avant-garde, fragmented album, drenched in synths, distorted drums, and eerie instrumentals. RCA delayed the album for three months, hoping Bowie would come to his senses. He didn’t. They even sent him a letter rejecting the album, which he proudly displayed on his wall. Bowie knew he was onto something groundbreaking, even if RCA didn’t.

2. The Album’s Title and Cover Art Contain a Hidden Joke

The cover of Low is a profile shot of Bowie from his 1976 film The Man Who Fell to Earth—but it’s not just a cool aesthetic choice. The image is actually a visual pun. The word “Low” refers to both the album’s introspective mood and the idea of having a “low profile”, something Bowie desperately craved after his cocaine-fueled years in Los Angeles. The joke was lost on most people until Bowie explained it in an interview, but once you see it, you can’t unsee it.

3. Brian Eno Didn’t Actually Produce It

Though Low is often called the first Bowie album “produced by Brian Eno”, that’s actually not true. Tony Visconti, Bowie’s longtime collaborator, was the real producer, while Eno served as more of an artistic catalyst. Bowie and Eno bonded over their love of Krautrock bands like Neu!, Kraftwerk, and Tangerine Dream, and while Eno brought in his signature synth textures and “Oblique Strategies” creative techniques, the actual production decisions—like the iconic drum sound created with an Eventide H910 Harmonizer—were all Visconti’s doing.

4. The Drums Changed Rock Music Forever

Speaking of that drum sound—it’s one of Low’s most groundbreaking contributions to music. Using the Eventide H910 Harmonizer, Visconti processed Dennis Davis’s drums to create an otherworldly, mechanical echo effect that was unlike anything else at the time. When Bowie asked what the Harmonizer did, Visconti famously replied: “It fuckss with the fabric of time.” The sound became one of the most imitated in rock history, inspiring artists from Joy Division to Radiohead. Listen to tracks like “Breaking Glass” or “Sound and Vision”, and you’ll hear the birth of post-punk and alternative rock.

5. Half of the Album Was Originally Meant for a Movie Soundtrack

Side two of Low is filled with dark, ambient instrumentals like “Warszawa”, “Weeping Wall”, and “Subterraneans”—and they weren’t initially written for the album. These tracks originated as part of Bowie’s abandoned soundtrack for The Man Who Fell to Earth, the 1976 sci-fi film in which he starred. When director Nicolas Roeg decided to use other composers instead, Bowie pulled his work and reworked it into the brooding, cinematic second half of Low. He even later sent Roeg a copy of the album with a note saying, “This is what I wanted to do for the soundtrack.”

Bowie’s record label might have panicked, but Low turned out to be one of the most influential albums of all time. It paved the way for post-punk, ambient music, and electronica, inspiring everyone from Joy Division and Talking Heads to Nine Inch Nails and Radiohead. What was once considered career suicide became a new blueprint for reinvention. Bowie was always ahead of the curve—Low just proved how far.

Five Unknown Facts About Nick Drake’s ‘Pink Moon’

Nick Drake’s Pink Moon is one of those rare albums that seems to exist outside of time. Just 28 minutes long, featuring only Drake’s voice and guitar, it’s an album of whispered intimacy, filled with poetic reflections on life, isolation, and fleeting beauty. But beyond its quiet genius, Pink Moon carries a history just as intriguing as its music. Here are five things you probably didn’t know about the final album from one of England’s most enigmatic songwriters.

1. It Was Recorded in Total Secrecy in Just Two Nights

Forget elaborate studio sessions—Pink Moon was recorded in complete secrecy over two late-night sessions in October 1971. Nick Drake arrived at Sound Techniques studio in London unannounced, with only trusted engineer John Wood present. Over the course of just a few hours, he laid down the entire album—no backing band, no overdubs, just voice and guitar. The only exception? The title track, which features a single, haunting piano melody, added at the very last moment. Even Island Records had no idea he was working on a new album until he quietly dropped off the tapes at their office.

2. The Album Almost Had a Forgotten 13th Track

Tucked away on the original master tapes was an additional song that never made the final album—a classical French love song from 1784 called Plaisir d’amour. It was listed as the first track of Side Two, but a handwritten note alongside it read: “Spare title – Do not use.” Why Drake decided to exclude it remains a mystery. The song, a delicate instrumental, remained hidden for decades before finally appearing as a bonus track on the 2004 compilation album A Treasury. Had it been included, it would have been the only non-original composition on any of Drake’s albums.

3. The Cover Art Was Chosen Without His Input

With an album as deeply personal as Pink Moon, you might assume the cover was carefully chosen by Nick Drake himself—but in reality, he had nothing to do with it. Originally, Island Records wanted a photograph of Drake, but his withdrawn nature and deteriorating appearance made them rethink. Instead, they turned to artist Michael Trevithick, a friend of Drake’s sister, Gabrielle. His surrealist Dali-esque artwork—featuring a floating pink orb and strange dreamlike imagery—became one of the most iconic folk album covers of all time. While Drake never publicly commented on it, those close to him believed he approved.

4. Its Release Was Met With Near Silence

Island Records knew Nick Drake wouldn’t tour or promote Pink Moon, so they tried something bold: they spent the entire marketing budget on full-page ads in music magazines, featuring nothing but the album artwork. No descriptions, no interviews, just the surreal image that matched the album’s ethereal nature. Despite this, the album sold poorly, much like Drake’s previous work. It wasn’t until the late 1990s, when Pink Moon was used in a Volkswagen Cabrio commercial, that it finally reached a wider audience. Today, it’s considered one of the greatest folk albums ever made.

5. Nick Drake Was Not in Deep Depression When He Recorded It

Given its sparse, melancholic sound and Drake’s tragic death just two years later, many assume Pink Moon was recorded in a state of deep depression. But those who knew him tell a different story. John Wood, the engineer who recorded the album, later said that Drake wasn’t depressed during the sessions—he was focused, intentional, and proud of what he was creating. Cally Callomon, who manages Drake’s estate, has confirmed this, stating: “Nick was incapable of writing and recording while suffering from depression. He was immensely proud of the album.” While Pink Moon certainly carries an air of loneliness, it was not a farewell letter, but rather a deliberate artistic statement.

Pink Moon might have been overlooked upon release, but it has since become one of the most beloved folk albums of all time. Its influence stretches far beyond its era, inspiring countless artists and finding new generations of listeners who are drawn to its haunting beauty.

Whether you discovered it through the Volkswagen commercial, a late-night vinyl listen, or by pure chance, Pink Moon has a way of staying with you.

Dillinger Four to Headline Camp Punksylvania 2025 With The Full Lineup Nearly Set

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The final pieces of the Camp Punksylvania 2025 lineup are officially falling into place, and it’s going to be a stacked finish. Dillinger Four will headline Friday night, bringing their legendary anthems and energy to the Main Stage-the perfect soundtrack to kick off Camp Punksylvania’s fifth anniversary celebration.

They’re joined by hardcore heavy-hitters Scowl, Brooklyn-based punk trio THICK, and skacore upcomers Working Class Stiffs, adding to the 50+ band roster for the DIY festival’s milestone year. One more headliner will be announced next week to complete the 2025 lineup.

Taking place June 20-22, 2025, at the West End Fairgrounds in Gilbert, PA, Camp Punksylvania continues to be the Northeast’s premier punk rock summer camp experience-but more than just a festival, it remains committed to uplifting marginalized voices in the punk scene. This year’s lineup reflects that mission, amplifying femme, LGBTQ+, and POC artists who are shaping the future of punk. Acts likeScowl, War On Women, The OBGMs, Pollyanna, JER, Teenage Halloween, and Rebelmatic are just a few examples of the powerful voices taking center stage.

With these additions, Camp Punksylvania 2025 is set to be the biggest and best edition yet, offering not just nonstop music, but also camping, DIY workshops, unique vendors, and an unforgettable community-driven atmosphere.

Swans Announce North American Tour in Support of ‘Birthing’ Out May 30

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Swans, who recently announced their seventeenth studio album, Birthing, arriving May 30 via Young God Records/Mute, have confirmed their first North American tour in support of the highly-anticipated release, launching on Sept. 4 in Philadelphia.

Tickets are on-sale this Friday, March 21, at 10 a.m. local time. Little Annie & Paul Wallfisch open.

Prior to the Swans tour, Michael Gira embarks on a solo European run, joined by Kristof Hahn for the 12- date outing, which also includes a performance at Roadburn.

Swans North American tour dates:
September 4 Philadelphia, PA Union Transfer
September 5 Washington, DC The Howard Theatre
September 6 Norfolk, VA The NorVa
September 9 Dallas, TX Granada Theater
September 10 Austin, TX Mohawk Austin
September 12 Albuquerque, NM Sunshine Theater
September 13 Tucson, AZ The Rialto Theatre
September 15 Los Angeles, CA Lodge Room
September 16 Los Angeles, CA Lodge Room
September 17 Los Angeles, CA Lodge Room
September 20 San Francisco, CA Great American Music Hall
September 21 San Francisco, CA Great American Music Hall
September 23 Seattle, WA The Neptune Theatre
September 24 Portland, OR Revolution Hall
September 27 Denver, CO Bluebird Theater
September 28 Omaha, NE Waiting Room Showroom
September 30 Chicago, IL Cabaret Metro
October 1 Detroit, MI The Magic Bag
October 3 Toronto, ON Phoenix Concert Theatre
October 4 Montreal, QC Theatre National
October 6 Boston, MA Paradise Rock Club
October 7 Brooklyn, NY Brooklyn Steel

Eruopean Tour Dates
April 9 Prague, CZ Meet Factory
April 10 Linz, AT Grüner Anker
April 12 Trieste, IT Teatro Miela
April 13 Milan, IT Spazio Teatro 89
April 15 Brussels, BE Ancient Belgique
April 17 London, UK EartH
April 18 Paris, FR Cafe de la Danse
April 20 Tilburg, NL Roadburn Festival
April 21 Cologne, DE Helios 37
April 23 Leipzig, DE Heilandskirche
April 25 Warsaw, PL Palladium
April 27 Berlin, DE Heimathafen Neukölln