Show Notes
In the grand tradition of a proper Bob & Kathy visit, it is obligatory to proceed at once to the stove and put the kettle on to boil. Brew the tea properly careful not to bruise it and ease yourself in to this week's episode of The GXO Podcast focusing on everything Robert Ironside & Family... Robert Ironside: The Big Reveal Now this story may have begun in 1983, when, on one fateful Halloween, two star crossed lovers first met... Or it may have begun August 16, 1983 when a 119 pound Toronto bound Blitz Kid stepped off a train at Union Station and into the skin of a 17 year bleach blonde alternative school educated punk calling himself Damien Emez... Or it may have started years earlier in the 1930s on the unforgiving streets of Depression era Toronto where a sullied homeless boy with holes in his pants never combed his hair... Or it may have started before World War 1 on Thorah Island with Bessie Big Canoe Emes, her husband William (referred to from here on is as Old Man Passmore) and their golden boy Joseph William Preston Passmore, who came into the world with so much promise in 1911, only to perish at the tender age of 7 in 1918 while his father William was fighting overseas in the muddied bombed out trenches of Europe... Thorah island, 60 miles northeast of Toronto, was under strict quarantine at the time due to the global Spanish flu epidemic. Alone with no one to help her, Bessie, our grandmother, was tasked with preparing her son's final resting place and committing his remains to the earth... Years later on her deathbed, Bessie turned to her youngest surviving son, my father, Bill Passmore, and made him vow that the family land on Thorah Island, southeast on Lake Simcoe, two and a half miles west of Beaverton, Ontario, never fall out of family hands... As of this writing, the land on Thorah Island and Bessie's precious son, still rest easy in family hands. *THE MUSIC The Ballad Of Mad Dogs And Englishmen https://music.apple.com/ca/album/the-ballad-of-mad-dogs-and-englishmen/723595944?i=723596282 by Leon Russell from his 1971 album Leon Russell & The Shelter People. Robbie Ironside was just 10 years old when this record came out The two other recordings heard in this podcast, "My Street" and "Vision Of Loveliness" were both composed by Robert Ironside and are the sole property of The Estate of Robert Ironside. It should also be noted that every instrument heard on both of these recordings was played by Robert Ironside himself, written, recorded, engineered, produced and performed by the one man band himself known as Robert Ironside. A special thank you for this episode goes out to the great Grand Matriarch of our family, the perpetually stunning, perpetually beautiful, moral center and guiding light, the one, the only Kathy Aitkens, the other half of sky. Bob's girl.
Do you have a burning desire to send us an email? Please do! [email protected]
Want on our mailing list? Only one weekly email update, we promise! We're far too lazy to do any more. Wanna leave a comment? Need to contact us? Visit the Official Generation X Offender GXO website at www.gxopodcast.com
*Please Note: Audio portions of this podcast have been reproduced under the "Fair Use" doctrine. This use is intended to be transformative, adding perspective to the original work, serving an educational purpose rather than commercial gain. This use is intended academically and does not serve as a substitute for the original. Copyright Disclaimer - Under Section 107 of the Copyright Act 1976, allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. "Fair Use" is a use permitted by copyright statute that might otherwise be infringing.
...
More from Generation X Offender
Welcome to The GXO Samples Show Part One!We’re delighted you’re joining us for our first few baby steps towards uncovering the mystery of Music Samples.What are they? And where do them come from?This multi part expose podcast explores how the visual arts of the 19th century, in the form of both montage and collage, went on to inspire a new language and aesthetic for music in the 20th century and beyond.From modernist composer Charles Ives’ backwards looking work of futurism in his seminal 1906 piece Central Park In The Dark through to the emergence of Musique concrète in France in the late 1940s to 1950s minimalism with John Cage, we leave no stone unturned.If you are eager to know how the 19th century son of a US Army Civil War veteran helped pave the way for 20th century hip hop aesthetics, you need to listen NOW…Be sure to stay tuned for the continuing story NEXT WEEK on The GXO Samples Show where the mystery of Music Collage, Music Sampling and MORE continues to unfold!Only here on The GXO Podcast, your trusted, insider source for everything music, pop culture and current affairs.*THE MUSICAmerica Is Waiting by Brian Eno & David Byrne from their 1981 album “My Life In The Bush Of Ghost”, recorded in 1979 through 1980 https://music.apple.com/ca/album/my-life-in-the-bush-of-ghosts/140755569Concert de bruit: No. 1, Etude aux tourniquets "Deconcertante" by Pierre Schaeffer 1948 https://music.apple.com/ca/album/premier-panorama-de-musique-concr%C3%A8te-mono-version/1031665827Symphonie Pour un Homme Seul Prosopopee 1 collaboration by the two sneaky Pete’s, Pierre Schaeffer and Pierre Henry 1950 https://music.apple.com/ca/album/symphonie-pour-un-homme-seul-prosopop%C3%A9e-1/1031663861?i=1031664552Imaginary Landscape No. 5 by John Cage 1952 https://music.apple.com/ca/album/imaginary-landscape-no-5/810044394?i=810044636Boat-Woman-Song from the 1969 album Canaxis 5 by the Technical Space Composer's Crew (Holger Czukay & Rolf Dammers) recorded in 1969
At the conclusion of World War II, noted British journalist George Orwell wrote his prophetic novel Nineteen Eighty-Four. This dark dystopian tale foretells a future for humanity polarized by the victors of the six year long global conflict Orwell had reported on; the communist Soviet block and the allied group of nations led by the United States and Great Britain.
Join us in episode 117 of the GXO Podcast as we prove our case in the court of contemporary music that everything old is new again and everything new is old through 60 years of electronic music.From the edited together single note recordings of the first keyboard-less Moog synthesizers of the late 1960s to the electronic dance music EDM that defines the current age of popular music in the first quarter of the 21st century, we spin you the yarn to a disco beat; judge, jury and executioner.Bring Me The Head Of The Disco King *THE MUSIC 1985 Rock Me Amadeus (Salieri Mix) by Falco 2013 Giorgio By Moroder by Daft Punk 1969 Looky Looky by Giorgio Moroder 1972 Underdog by Giorgio Moroder 1972 Watch Your Step by Giorgio Moroder 1972 Automation by Giorgio Moroder 1969 Mother Popcorn (You Got To Have A Mother For Me) by James Brown 1969 Pop Corn by Gershon Kingsley 1972 Pop Corn by Hot Butter (Stan Free) 1967 Soul Finger by The Bar-Kays 1968 Bonnie And Clyde by Serge Gainsbourg and Brigitte Bardot 1969 Je t'aime moi non plus by Serge Gainsbourg and Jane Birkin 1975 Love To Love You Baby by Donna Summer 1971 Jungle Fever by Chakachas 1973 Jungle Boogie Kool & The Gang 1977 I Feel Love by Donna Summer 1977 Medley: Star Wars (12" Version) by Meco 1977 Ben's Death and Tie Fighter Attack by The Electric Moog Orchestra 1978 Sing Sing by Gaz (Thor Baldursson) 1979 Pop Muzik by M (Robin Scott) 1980 Coming Up (recorded Summer 1979) by Paul McCartney 1982 Blade Runner (Main Titles) by Vangelis 1978 Last Dance (Live At Universal Amphitheatre, Los Angeles) by Donna Summer Anyone wishing to contact The GXO please do by emailing us at [email protected] Want on our mailing list? Only one weekly email update, we promise! We're far too lazy to do any more. Wanna leave a comment? Need to contact us? Visit the Official Generation X Offender GXO website at www.gxopodcast.com Please Note: Audio portions of this podcast have been reproduced under the "Fair Use" doctrine. This use is intended to be transformative, adding perspective to the original work, serving an educational purpose rather than commercial gain. This use is intended academically and does not serve as a substitute for the original. Copyright Disclaimer - Under Section 107 of the Copyright Act 1976, allowance is made for "Fair Use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. "Fair Use" is a use permitted by copyright statute that might otherwise be infringing.
Amidst the persistent haze of the “anything goes”, hedonistic Free Love swinging 60s, with its culture of excess and casual debauchery, it was easy to lose sight of the fact that James (Not Jimbo) Morrison was suffering, very publicly, from an incurable disease. Alcoholism. Even his closest friends and associates, members of The Doors, keyboardist Ray Manzarek, guitarist Robby Krieger, and drummer John Densmore, didn’t recognize at the time that alcohol was slowly killing their friend right before their eyes. Night after night, town after town, amidst the backdrop of skewed innocence and the newly emerging riches of the Rock N Roll lifestyle, Jim Morrison was dying. Years later, when amateur American anthropologist filmmaker Oliver Stone turned his lens upon the Mythology of the Man in the Black leather pants, surviving members of The Doors would work (and ultimately quit their positions) as Special Advisors To The Filmmaker. When Stone began taking liberties with the truth, making stuff up, all three abandoned the project. In his fictional account of The Doors, director Stone erroneously depicts a clearly flustered Jim Morrison storming out of class because his instructor and fellow students neither liked nor understood his student film. Morrison, the highly romanticized lead character in Stone’s epic tale, presented stereotypically as the rebellious lone wolf protagonist, quits school to live freely amidst the sun and fun of sandy Venice Beach and all the scantily clad teenage girls who call it home. The only problem with this scenario is that it is not true. Except for the part about Venice Beach and the half naked girls. That came later. Jim Morrison graduated from George Washington High School in Alexandria, Virginia, in 1961, later earning a bachelor's degree in theater arts (cinematography/film), graduating with a Bachelor of Arts (B.A.) from UCLA the University of California Los Angeles in 1965. Previous to earning his degree at UCLA, Morrison had also studied at St. Petersburg Junior College in St. Petersburg/Clearwater, Florida, from 1961 until 1962 before transferring to Florida State University in Tallahassee, Florida, in the fall of 1962 before transferring to UCLA. James (Not Jimbo) Morrison was an intellectual. A thinker. A published poet. And a student of 19th century French teen poet Arthur Rimbaud, so much so that he took time out from his highly publicized Rock N Roll lifestyle to write a humble note of thanks to a 60 year old devout scholar of 19th century French literature. Morrison wrote to Duke University professor Wallace Fowlie regarding his English translations of teen poet Arthur Rimbaud. In his 1968 letter, Morrison thanked Wallace Fowlie and wrote: "I read French but not too easily and I needed your translation. I am a rock singer and your book travels with me wherever I go." Additionally, Morrison was a visionary futurist. Sixty years ago he predicted the future of popular music, computerized “one man band” electronic music and DJ culture that would rely heavily on electronics, tapes, and machines, envisioning: "one person with a lot of machines, tapes, and electronics set up, singing or speaking and using machines." In a 1969 interview with journalist Jerry Hopkins for Rolling Stone magazine, Morrison further reflected on the evolution of Rock N Roll. He noted that traditional rock was "kind of dying out" as artists returned to blues and country roots and theorized that a new generation would emerge combining these roots with a third, electronic component. His description eerily foreshadowed the rise of solo electronic music producers, DJs, and hip-hop artists who can act as an entire band using a computer or electronic setup. This exact interview quote was later popularized when electronic artist Skrillex sampled Morrison's voice in the 2012 Break’n A Sweat collaboration with the surviving members of The Doors. Tragically though, Jim Morrison was also a drunk. A very public drun
Episode 115 Rimbaud: Dirty, Rude, Scummy, Drunk, Teenage Genius. Was he a visionary poet or a victim of exploitation? This week, we expose the volatile, scandal-ridden affair between veteran Parisian poet Paul Verlaine and his 16 year old protégé, Arthur Rimbaud. We’re diving into the wreckage of a two year relationship defined by obsession, public scandal, and a point-blank gunshot that changed literature forever. In this episode: * The power dynamics of a decade long age gap. * The dark reality behind the tumultuous affair * The aftermath: Who pulled the trigger, who ended up behind bars, and was justice actually served? It’s a masterclass in genius, depravity, and the thin line between art and crime. Don’t miss the most controversial chapter of 19th-century poetry yet. Listen now