Martin Bandyke Under Covers for October 2019: Martin interviews C.M. Kushins, author of Nothing's Bad Luck: The Lives of Warren Zevon.
Tue, 10/01/2019 - 1:07pm
As is the case with so many musicians, the life of Warren Zevon was blessed with talent and opportunity yet also beset by tragedy and setbacks. Raised mostly by his mother with an occasional cameo from his gangster father, Warren had an affinity and talent for music at an early age. Taking to the piano and guitar almost instantly, he began imitating and soon creating songs at every opportunity. After an impromptu performance in the right place at the right time, a record deal landed on the lap of a teenager who was eager to set out on his own and make a name for himself. But of course, where fame is concerned, things are never quite so simple.
Drawing on original interviews with those closest to Zevon, including Crystal Zevon, Jackson Browne, Mitch Albom, Danny Goldberg, Barney Hoskyns, and Merle Ginsberg, Nothing's Bad Luck tells the story of one of rock's greatest talents. Journalist C.M. Kushins not only examines Zevon's troubled personal life and sophisticated, ever-changing musical style, but emphasizes the moments in which the two are inseparable, and ultimately paints Zevon as a hot-headed, literary, compelling, musical genius worthy of the same tier as that of Bob Dylan and Neil Young.
In Nothing's Bad Luck, Kushins at last gives Warren Zevon the serious, in-depth biographical treatment he deserves, making the life of this complex subject accessible to fans old and new for the very first time.
Martin Bandyke Under Covers for September 2019: Martin interviews Carey Cranston, President of the American Writers Museum.
Wed, 08/28/2019 - 10:18am
The American Writers Museum opened in downtown Chicago in May 2017, and its mission is to celebrate the enduring influence of American writers on our history, our identity, our culture, and our daily lives.
American writing is distinctive, diverse, and comes in many forms from across the nations. As the only museum devoted to American writers and their works, AWM connects visitors with their favorite authors and writings from more than five centuries, while inspiring the discovery of new works of every type – poetry, lyrics, speeches, drama, fiction, nonfiction, journalism, and more.
The authors and works presented by the Museum are not meant to be a definitive list of who is the greatest or most influential. Instead, the museum presents authors and works as part of a continuum that will grow and change.
Martin Bandyke Under Covers for August 2019: Martin talks to David Maraniss about A Good American Family: The Red Scare and My Father.
Fri, 08/09/2019 - 2:05pm
In a riveting book with powerful resonance today, Pulitzer Prize-winning author David Maraniss captures the pervasive fear and paranoia that gripped America during the Red Scare of the 1950s through the chilling yet affirming story of his family’s ordeal, from blacklisting to vindication.
Elliott Maraniss, David’s father, a WWII veteran who had commanded an all-black company in the Pacific, was spied on by the FBI, named as a communist by an informant, called before the House Un-American Activities Committee in 1952, fired from his newspaper job, and blacklisted for five years. Yet he never lost faith in America and emerged on the other side with his family and optimism intact.
In a sweeping drama that moves from the Depression and Spanish Civil War to the HUAC hearings and end of the McCarthy era, Maraniss weaves his father’s story through the lives of his inquisitors and defenders as they struggle with the vital twentieth-century issues of race, fascism, communism, and first amendment freedoms. A Good American Family powerfully evokes the political dysfunctions of the 1950s while underscoring what it really means to be an American. It is an unsparing yet moving tribute from a brilliant writer to his father and the family he protected in dangerous times.
Martin Bandyke Under Covers for July 2019: Martin interviews John Wall, author of Streamliner: Raymond Loewy and Image-making in the Age of American Industrial Design.
Tue, 07/02/2019 - 10:42am
Born in Paris in 1893 and trained as an engineer, Raymond Loewy revolutionized twentieth-century American industrial design. Combining salesmanship and media savvy, he created bright, smooth, and colorful logos for major corporations that included Greyhound, Exxon, and Nabisco. His designs for Studebaker automobiles, Sears Coldspot refrigerators, Lucky Strike cigarette packs, and Pennsylvania Railroad locomotives are iconic. Beyond his timeless designs, Loewy carefully built an international reputation through the assiduous courting of journalists and tastemakers to become the face of both a new profession and a consumer-driven vision of the American dream.
In Streamliner, John Wall traces the evolution of an industry through the lens of Loewy’s eclectic life, distinctive work, and invented persona. How, he asks, did Loewy build a business while transforming himself into a national brand a half century before "branding" became relevant? Placing Loewy in context with the emerging consumer culture of the latter half of the twentieth century, Wall explores how his approach to business complemented―or differed from―that of his well-known contemporaries, including industrial designers Henry Dreyfuss, Walter Teague, and Norman Bel Geddes. Wall also reveals how Loewy tailored his lifestyle to cement the image of "designer" in the public imagination, and why the self-promotion that drove Loewy to the top of his profession began to work against him at the end of his career. Streamliner is an important and engaging work on one of the longest-lived careers in industrial design.
Martin Bandyke’s interview with John Wall was originally recorded on February 6, 2019.
Martin Bandyke Under Covers for June 2019: Martin interviews Ian S. Port, author of The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock 'n' Roll
Wed, 06/05/2019 - 4:58pm
“A hot-rod joy ride through mid-20th-century American history” (The New York Times Book Review), this one-of-a-kind narrative masterfully recreates the rivalry between the two men who innovated the electric guitar’s amplified sound—Leo Fender and Les Paul—and their intense competition to convince rock stars like the Beatles, Jimi Hendrix, and Eric Clapton to play the instruments they built.
In the years after World War II, music was evolving from big-band jazz into rock ’n’ roll—and these louder styles demanded revolutionary instruments. When Leo Fender’s tiny firm marketed the first solid-body electric guitar, the Esquire, musicians immediately saw its appeal. Not to be out-maneuvered, Gibson, the largest guitar manufacturer, raced to build a competitive product. The company designed an “axe” that would make Fender’s Esquire look cheap and convinced Les Paul—whose endorsement Leo Fender had sought—to put his name on it. Thus was born the guitar world’s most heated rivalry: Gibson versus Fender, Les versus Leo.
While Fender was a quiet, half-blind, self-taught radio repairman, Paul was a brilliant but headstrong pop star and guitarist who spent years toying with new musical technologies. Their contest turned into an arms race as the most inventive musicians of the 1950s and 1960s—including bluesman Muddy Waters, rocker Buddy Holly, the Beatles, Bob Dylan, and Eric Clapton—adopted one maker’s guitar or another. By 1969 it was clear that these new electric instruments had launched music into a radical new age, empowering artists with a vibrancy and volume never before attainable.
Martin Bandyke Under Covers for May 2019: Martin Bandyke interviews Kenneth C. Springirth, author of Detroit’s Streetcar Heritage
Fri, 05/03/2019 - 5:12pm
Kenneth Charles Springirth (born 1939) is a United States author, activist, politician, guest-speaker, photographer, and railroad historian. Detroit's Streetcar Heritage is Ken’s photographic essay of the Detroit, Michigan, streetcar system.
Replacement of slow moving horsecar service began with the opening of an electric street railway by the Detroit Citizens Street Railway in 1892. By 1900, all of the Detroit streetcar systems were consolidated into the Detroit United Railway (DUR). Following voter approval, the City of Detroit purchased DUR in 1922, becoming the first large United States city to own and operate public transit under Detroit Department of Street Railways (DSR). Between 1921 and 1930, DSR purchased 781 Peter Witt type streetcars. Although DSR purchased 186 modern Presidents' Conference Committee (PCC) cars between 1945 and 1949, many streetcar lines were converted to bus operation. The last streetcar line on Woodward Avenue was converted to bus operation in 1956 with 183 PCC cars sold to Mexico City. Detroit's Streetcar Heritage documents the city's streetcar era plus scenes of the PCC cars in Mexico City, the Washington Boulevard Line which operated from 1976 to 2003, and the QLINE streetcar which opened in 2017 on Woodward Avenue linking Grand Boulevard with downtown Detroit.
Martin Bandyke Under Covers for March 2019: Martin Bandyke interviews Thomas Brothers, author of Help: The Beatles, Duke Ellington, and the Magic of Collaboration.
Fri, 03/08/2019 - 3:32pm
The Beatles and Duke Ellington’s Orchestra stand as the two greatest examples of collaboration in music history. Ellington’s forte was not melody―his key partners were not lyricists but his fellow musicians. His strength was in arranging, in elevating the role of a featured soloist, in selecting titles: in packaging compositions. He was also very good at taking credit when the credit wasn’t solely his, as in the case of Mood Indigo, though he was ultimately responsible for the orchestration of what Duke University musicologist Thomas Brothers calls "one of his finest achievements." If Ellington was often reluctant to publicly acknowledge how essential collaboration was to the Ellington sound, the relationship between Lennon and McCartney was fluid from the start. Lennon and McCartney "wrote for each other as primary audience." Lennon’s preference for simpler music meant that it begged for enhancement and McCartney was only too happy to oblige, and while McCartney expanded the Beatles’ musical range, Lennon did "the same thing with lyrics."
Through his fascinating examination of these two musical legends, Brothers delivers a portrait of the creative process at work, demonstrating that the cooperative method at the foundation of these two artist-groups was the primary reason for their unmatched musical success. While clarifying the historical record of who wrote what, with whom, and how, Brothers brings the past to life with a lifetime of musical knowledge that reverberates through every page, and analyses of songs from Lennon and McCartney’s Strawberry Fields Forever to Billy Strayhorn’s Chelsea Bridge.
Help! describes in rich detail the music and mastery of two cultural leaders whose popularity has never dimmed, and the process of collaboration that allowed them to achieve an artistic vision greater than the sum of their parts.
Martin Bandyke Under Covers for February 2019: Martin Bandyke interviews Chris Stamey, author of A Spy in the House of Loud: New York Songs and Stories.
Tue, 02/05/2019 - 2:20pm
Popular music was in a creative upheaval in the late 1970s. As the singer-songwriter and producer Chris Stamey remembers, “The old guard had become bloated, cartoonish, and widely co-opted by a search for maximum corporate profits, and we wanted none of it.” In A Spy in the House of Loud, he takes us back to the auteur explosion happening in New York clubs such as the Bowery’s CBGB as Television, Talking Heads, R.E.M., and other innovative bands were rewriting the rules. Just twenty-two years old and newly arrived from North Carolina, Stamey immersed himself in the action, playing a year with Alex Chilton before forming the dB’s and recording the albums Stands for deciBels and Repercussion, which still have an enthusiastic following.
A Spy in the House of Loud vividly captures the energy that drove the music scene as arena rock gave way to punk and other new streams of electric music. Stamey tells engrossing backstories about creating in the recording studio, describing both the inspiration and the harmonic decisions behind many of his compositions, as well as providing insights into other people’s music and the process of songwriting. Photos, mixer-channel and track assignment notes, and other inside-the-studio materials illustrate the stories. Revealing another side of the CBGB era, which has been stereotyped as punk rock, safety pins, and provocation, A Spy in the House of Loud portrays a southern artist’s coming-of-age in New York’s frontier abandon as he searches for new ways to break the rules and make some noise.
Martin’s interview with Chris Stamey was recorded on August 29, 2018.
Martin Bandyke Under Covers for January 2019: Martin interviews Thor Hanson, author of Buzz: The Nature and Necessity of Bees.
Wed, 01/30/2019 - 1:44pm
Bees are like oxygen: ubiquitous, essential, and, for the most part, unseen. While we might overlook them, they lie at the heart of relationships that bind the human and natural worlds. In Buzz, Thor Hanson (the award-winning author of The Triumph of Seeds and Feathers) takes us on a journey that begins 125 million years ago, when a wasp first dared to feed pollen to its young. From honeybees and bumbles to lesser-known diggers, miners, leafcutters, and masons, bees have long been central to our harvests, our mythologies, and our very existence. They've given us sweetness and light, the beauty of flowers, and as much as a third of the foodstuffs we eat. And, alarmingly, they are at risk of disappearing.
As informative and enchanting as the waggle dance of a honeybee, Buzz shows us why all bees are wonders to celebrate and protect. Read this book and you'll never overlook them again.
Martin's interview with Thor Hanson was recorded on August 13, 2018.
Martin Bandyke Under Covers for December 2018: Martin Bandyke interviews Christopher Bonanos, author of Flash: The Making of Weegee the Famous.
Tue, 12/04/2018 - 11:47am
Arthur Fellig’s ability to arrive at a crime scene just as the cops did was so uncanny that he renamed himself “Weegee,” claiming that he functioned as a human Ouija board. Weegee documented better than any other photographer the crime, grit, and complex humanity of midcentury New York City. In Flash, we get a portrait not only of the man (both flawed and deeply talented, with generous appetites for publicity, women, and hot pastrami) but also of the fascinating time and place that he occupied.
From self-taught immigrant kid to newshound to art-world darling to latter-day caricature―moving from the dangerous streets of New York City to the celebrity culture of Los Angeles and then to Europe for a quixotic late phase of experimental photography and filmmaking―Weegee lived a life just as worthy of documentation as the scenes he captured. With Flash, we have an unprecedented and ultimately moving view of the man now regarded as an innovator and a pioneer, an artist as well as a newsman, whose photographs are among most powerful images of urban existence ever made.
Martin’s interview with Christopher Bonanos was recorded on July 17, 2018.